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The  Metropolitan  College  Course,  NEW    AND     REVISED    EDITION. 

THE 


SYNTHETIC    METHOD 


Jfor  the  lC)iano=]forte. 


A  SYSTEMATIC   DEVELOPMENT  OF   NOTATION,    RHYTHM,  TOUCH, 
TECHNIC.   MELODY.    HARMONY,   AND   FORM. 


BY 

ALBERT   ROSS   PARSONS, 


ARRANGED  AND  DEVELOPED  BY 


KATE   S.   CHITTENDEN. 


THE  ELEMENTS   OF  MUSIC  AXD  PIANO-FORTE  PLAYING. 


SILVER,  BURDETT  AND  COMPANY 

NEW  YORK     .     .     .     BOSTON     .     .     .     CHICAGO 


The  Synthetic  Method 

FOR    THE    PIANOFORTE 


INSTRUCTION 


BOOKS 


THE    SYNTHETIC    METHOD— Parsons  and  Chittenden 

PRICE 


The    Elements    of   Music    and    Pianoforte 

Playing net  §2.00 


The  Synthetic  Catechism 


net 


.bo 


Manuscript  Music  Book  (Elementary  Harmony) 

Part    1 riet  $  .75 

Practice  Book  and  Lesson  Record 

Manuscript  Music  Tablet    . 


net 
net 


•25 
.20 


SUPPLEMENTARY    STUDIES    FOR    THE    PIANOFORTE 


PRICE 

Flexing  Exercises. — Parsons      .         .         .         .    S  -30 
Method  of  Metronome  Practice,  for  scales,  etc 
— 'Parsons ..... 


net 


Individual  Finger  Training — Parsons 
1 14  Trill  Fingerings. — Tar  sons  . 
Scales  in  Skeleton  Thirds. — Parsons 
Accelerating  Scale  Practice. — Parsons 
Studies  in  Sustained  Notes. — Eggeling 
Practical  School  of  Transposition. — Tarsons 
Advanced  Exercises  for  the  Thumb. — Parsons 

Preparatory  Exercises  for  Triad  Arpeggiations.- 
Parsons      

Preparatory  Exercises  for  Dominant  and  Dimin- 
ished Seventh  Arpeggiations. — Parsons 

Indispensable  Trills. — Varsons  . 

Practical  School  of  Polyphonic  Playing.  Parsons    neti.oo 

Dissected  Scales — passages  formed  by  the  omis- 
sion of  one  or  more  tones  from  the  scales. — 

Chittenden 25 

Silent  Exchange  of  Fingers. — Chittenden  .        .       .40 
Broken  Chords.     (Zigza.g.)^Chittenden    .         .      i.oo 


2S 

75 


00 

75 
50 

60 


•75 


Tetrads,  Dominant  Seventh  Technics. — Chitten- 
den     net  $1.00 

Preparatory  Studies  for  Parallel  Scale  Fingering. 

(Major  Scales.) — Chittenden        .         .         .        .60 

Preparatory  Studies  for  Parallel  Scale  Fingering. 
(Harmonic  and  Melodic  Minor  Scales.) — 
Chittenden 60 

Triad  Arpeggios. — Chittenden  .         .         .     net     i.oo 

Tetrad    Arpeggios — Chittenden        .         .     net      1.00 

Homonyms,  Studies  in  Broken  Triads.  —  Chit- 
tenden         80 

Exercises  in  Expansion  and  Contraction. — Chit- 
tenden          60 

Dispersed  Harmonies. — Chittenden    . 

Appoggiaturas,  Turns  and  Trills. — Chittenden   . 

60  Possible  Three-finger  Groups. — Chittenden  . 

Foundation  Rhythms  to  be  Applied  to  Sequences; 
Scales  and  Arpeggios. — Chittenden.  . 

Miscellaneous  Technics.    (Including  Short  Chords 
and  Double  Scales.)  .         .         .         net 

120  Five-finger  Successions. — Chittenden. 


.2=; 
■  SO 
.60 

.^0 


1.50 
.50 


Other  Numbers  in  Preparation. 


List  of  "SELECTIONS  to  accompjiiv  THE  SYNTHETIC  METHOD"  furnished  on  application 


Silver,  Burdett  &  Company 

PUBLISHERS 


NEW  YORK,  85  Fifth  Avenue  • 
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SAN  FRANCISCO,    319-325  Sansome  Street 


CoPTKiuHT,  1892,  1894,  1908,  by  SILVER,  BURDETT  &  COMPANY,  Publishehs. 
Entere<l  at  Stationers'  Hall,  London,  England. 


PREFACE. 


The  present  volume  is  the  elementary  part  of  a  Metliod 
for  the  Piano-forte,  based  on  principles  and  ideas  developed 
by  years  of  jDraotical  experience  in  teaching. 

These  principles  and  ideas  having  proved  helpful  to  cer- 
tain pupils  of  the  author,  who  in  their  turn  taught  other 
teachei's  of  the  3'oinig,  it  occurred  to  one  of  the  most  suc- 
cessful of  them,  Miss  Kate  S.  Chittenden,  to  formulate  the 
various  exercises,  explanations,  and  devices  for  interesting 
and  instructing  the  young,  wliich  she  had  thus  acquired,  into 
a  method  for  publication,  with  a  view,  primarily,  of  saving 
the  trouble  of  rewriting  everything  for  each  new  pupil ;  and, 
in  the  next  place,  of  rendering  the  method  itself  accessible  to 
teachers  in  general  throughout  tlie  country.  In  making  this 
compilation,  Miss  Chittenden  has  not  restricted  her  work  to 
a  mere  mechanical  reproduction  of  the  material  as  she  from 
time' to  time  received  it;  but,  instead,  has  wisely  presented  it 
here,  both  modified  and  amplified  in  accordance  with  the 
dictates  of  her  own  subsequent  extensive  and  successful 
experience  in  teaching. 

The  manuscript  has  also  been  examined  by  another 
pupil  of  the  author,  widely  known  as  an  able  and  experi- 
enced teacher,  Miss  Lucy  B.  Baker,  of  Orange,  N.J.,  who 
has  enriched  the  present  part  with  valuable  material  sug- 
gested by  her  own  experience  in  the  use  of  the  method. 
(See  "V.,  Relaxation,"  p.  10:  "XIII.,  See-saw,"  p.  21.) 

A  glance  at  the  table  of  contents  will  suffice  to  show  the 
special  aim  of  the  Synthetic  Method,  which  is  to  train  simul- 
taneously both  the  fingers  and  the  musical  understanding, 
with  a  view  to  laying  the  foundation  for  a  solid  education  in 
music,  from  the  very  beginning.  Everywhere,  throughout 
the  work,  little  heads  are  required  to  think  while  little 
fingers  learn  to  play,  and  nobly  do  the  children  respond  to 
the  demand.-  Instead  of  being  kept  exclusively  in  mental 
grooves  all  determined  for  them  in  advance,  they  here  find 
themselves  working  with  tones  as  with  musical  building 
blocks,  and  the  pleasure  they  take  in  thinking  for  themselves 


they  express  by  manifesting  a  continually  increasing  interest 
in  their  music.  Had  this  not  been  the  case,  the  present 
work  would  never  have  been  prepared  for  publication. 

The  special  value  of  piano-forte  study  as  an  educational 
means  in  the  highest  sense,  has  never  been  more  clearly 
shown  than  in  certain  statements  of  Prof.  James  Rhodes 
Buchanan,  M.D.,  in  his  remarkable  work  entitled  "Thera- 
peutic Sarcognomy."  Says  Professor  Buchanan:  "Each 
portion  of  the  body  co-operates  with,  and  strengthens  the 
portion  of  the  brain  with  which  it  is  in  sympathy.  The  fact 
•-that  the  cephalic  region  of  the  trunk  is  also  a  brachial 
plexus,  indicates  the  important  relation  of  the  arms  to  the 
brain,  and  hence  the  importance  of  exercises  of  the  arms  and 
shoulders  to  promote  the  energy  of  the  hrain.  The  arms  are 
the  agents  by  which  our  intelligent  plans  and  purposes  are 
executed.  They  are  the  chief  instruments  of  the  brain,  all 
skill  being  manifested  by  the  fingers,  and  the  play  of  our 
emotions  and  energies  being  expressed  by  gesticulation  of 
the  arms.  The  arms  [including  the  hands]  attain  their 
highest  development  in  man.  So  does  the  (correlated)  occip- 
ital region,  in  which  man  very  far  excels  all  animals.  The 
occipital  region  [thus  intimately  associated  with  hands  and 
arms]  gives  the  ambitious  impulse,  the  spirit  of  command 
and  dignity  of  character  which  are  so  pre-eminent  in  man, 
and  which  are  sustained  by  his  superior  brain  and  his  efficient 
hands  and  arms,  which  make  arts  and  manufactures  possible. 
If  his  hands  were  reduced  to  paws  or  hoofs,  his  pre-eminence 
would  be  lost,  and  his  ambition  and  self-respect  having  no 
adequate  foundation  (stimulus)  the  organs  would  fail,  and 
the  occiput  be  reduced  to  the  animal  type." 

May  our  little  people  be  taught  from  the  first  in  accord- 
ance with  these  facts,  and  thus  be  enabled  to  make  a  new 
and  most  practical  application  of  the  injunction  :  "  What 
soever  thy  hand  findeth  to  do,  do  it  with  thy  iniglit." 

Albert  Ross  Parsons. 

New  York,  May,  1892. 


(3) 


TABLE   OF   CONTENTS. 


FAOB 

Preface 3 

Table  of  Contents 4 

Introduction 5 

I.    The  Music  Alphabet.  —  Octave,  Pitch  ....  9 
II.   Digits,  and  Where  to  Use   Them.  —  Digitals, 

Clavier     9 

III.  Fists  and  Fingers 10 

IV.  How   to   Exercise   the    Fingers    as    if    they 

WERE  Scissors 10 

V.    Relaxation.  —  Legato 10 

VI.   How  We  Leakn  to  Walk 11 

VII.    Finger  Lifting 12 

VIII.   Signs  for  Sounds.  —  Notes,  Staff,  Brace   ...  12 

IX.   Signs  for  Pitch.  —  Clefs .  13 

X.   Tonal  Gravitations.  —  Silent  Exchange  ...  14 

XI.    Marching 20 

XII.    Triads 20 

Xm.    See-saw  (shakes) 21 

XIV.   Triad  Changes 23 

XV.    Staff  Division.  —  Measures,  Bars,  Score    ...  24 
XVI.    Signs    of    Duration.  — Whole,    Half,    Quarter 

Notes 24 

XVII.   Metre.  —  Double,  Triple,  Quadruple 24 

XVIII.    Time  Signatures 25 

XIX.    Rhythm 26 

XX.   Periods  and  Phrases.  —  Rhythmic  Rhymes      .  26 

XXI.   Chromatic  Scale 27 

XXn.   Sections  and  Motives 28 

XXIII.   Counterpoint 29 

XXrV.   Scale  Walks 29 

XXV.   A  List  of  Metronome  Grades 32 

XXVL   Triad  Members 32 

XXVII.   Triad  Tones  for  Alternate  Hands  ....  33 


FAOE 

XXVIII.   The  Quint  Succession.  —  Sharps,  Flats,  Double 

Sharps,  Double  Flats,  The  Harmonic  Alphabet  33 
XXIX.    See-saw    Exercises    for    both    White    and 

Black  Digitals 35 

XXX.    Signs  for  Silence.  —  Rests 36 

XXXI.   Words  to  Indicate  Speed 36 

XXXII.    Canons.  —  Finite  and  Iniinite  Pause,  Hold   .     .  36 

XXXIII.  Leger,  or  Liciit,  Lines 37 

XXXIV.  Doublets.  —  Triple  Rhymes 38 

XXXV.    Repeats.  —  Gr«at  Period 39 

XXXVI.    Major  and  Minor 40 

XXXVII.    The  Twelve  Clavier  Positions  of  Quints  .  41 

XXXVIII.   Chords.  —  Leaning  Tones 42 

XXXIX.    Intervals 43 

XL.   Piano-Forte.  —  Crescendo,  Diminuendo  ...  44 

XLI.   Proper  Names 45 

XLII.   Abbreviations 45 

XLIII.   Passing  Tones  and  Five-finger  Progressions  46 

XLIV.    Accidentals 47 

XLV.    Rhythms  of  Compound  Triple  Time    ...  47 
XLVI.   A  Chain  of  Major,  Minor,  and  Diminished 

Triads 48 

XLVII.    Progressions  in  Broken  Thirds 49 

XL VIII.    Exercises  to  Develop  Muscular  Elasticity  60 

XLIX.    Leaners  against  Major  Thirds 52 

L.    Satellites 53 

LI.   Transposed    Tonal     Gravitations.  —  Tetra- 

ohords,  Tonalities 63 

LII.   How  to  Form  the  Diatonic  Leaners  against 
the  Triads.  —  Consonance   and  Dissonance, 

Da  Capo  dal  Segno 65 

Alternate  Triple  and  Double  Rhythms     .  64 

Appendix 67 


(4) 


INTRODUCTIOJS^. 


I.    THE   INSTRUMENT. 

The  actual  hammer  of  the  piano-forte  is  attached  to  the 
further  end  of  the  digital  in  such  a  way  that  if  only  the  dig- 
ital is  depressed  slowly  enough,  it  may  reach  its  full  depth 
without  ever  causing  the  hammer  to  touch  the  string.  There- 
fore it  is  obvious  that  the  further  end  of  the  lever  cunnot  push 
the  hammer  against  the  wire  ;  it  can  only  toss  it  something 
as  a  racquet  tosses  a  tennis  ball. 

Hence  we  do  not  so  much  need  to  learn  how  to  strike  the 
digitals  with  varying  degrees  of  force,  as  how  to  set  them  in 
motion  with  varying  degrees  of  speed.  If  we  impart  a  slow 
motion  to  a  digital,  it  in  turn  sends  the  hammer  towards  the 
string  with  but  slight  momentum.  When  a  hammer  to  which 
a  gentle  motion  is  thus  imparted  is  arrested  in  its  course  by 
the  inflexible  string,  the  result  of  the  delicate  collision  is  a 
delicate  tone.  When,  on  the  other  hand,  by  a  sudden  seizure 
of  the  digital,  the  loosely  attached  hammer  is  sent  suddenly 
flying  against  the  immovable  wire,  the  greater  the  swiftness 
with  which  the  hammer  flies  upward,  the  more  sudden  and 
severe  is  the  collision  between  the  hammer  and  string,  and 
the  louder  the  resultant  concussion  and  tone. 


2.    THE   PLAYER. 

The  muscles  of  the  fingers  may  be  contracted  with  varying 
degrees  of  speed,  so  as  to  evoke  tones  of  vai-ying  degrees  of 
power,  from  the  most  zephyr-like  to  the  most  stormy  or  ma- 
jestic. Or,  the  muscles  of  finger  and  hand  maj'  be  combined 
to  produce  either  the  most  delicate  or  the  most  powerful  tone 
which  they  can  command.  Or,  the  musculir  contraction 
may  involve  all  the  muscles  of  forearm,  hand,  and  finger;  or 
of  upper-arm,  forearm,  hand,  and  finger.  Or,  finally,  by  lift- 
ing the  shoulders  well,  the  pianist  may  effect  a  combined 
contraction  of  all  the  muscles  of  the  back,  shoulder,  upper- 
arm,  forearm,  hand,  and  finger.  And  all  this  mass  of  muscle 
may  be  devoted  to  the  production  of  the  faintest  possible  or 
strongest  possible  tone.  In  other  words,  it  may  be  gradually 
contracted   for  a  very  gradual  pressure  of    the  digitals,  or 


(5) 


contracted  like  lightning  to  startle  the  digitals  and  hammers 
into  concussion  like  thunder  peals  of  tone. 

At  all  times  the  principle  must  govern,  that  the  more  sud- 
den the  disturbance  of  the  digitals,  so  much  the  nearer  must 
the  fingers  be  before  seizing  them.  To  strike  forcibly  or 
suddenly  fi'om  a  height,  is  at  once  dangerous  to  the  fingers 
and  ruinous  to  the  beauty  of  tone.  Whether  a  part  or  the 
whole  of  the  muscular  apparatus  is  called  into  play,  the  most 
delicate  effects  may  be  produced  by  muscles  hardened  like 
iron ;  and  nearly,  if  not  quite,  the  loudest  effects  may  result 
from  the  sheer  weight  of  muscles  soft  as  those  of  the  swaying 
trunk  of  an  elephant,  and  vice  versa. 

The  development  of  muscular  tissue  follows  the  same 
lines  as  the  growth  of  strength  and  hardiness  in  vegetable 
tissue. 

Tiny  fingers,  hands,  and  arms  often  have  tiny,  weak, 
feeble,  undeveloped  muscles  whose  power  must  be  educed, 
or  educated  by  gentle  and  gradual,  but  effective  means. 
Some  small  children  are  naturally  endowed  with  tough, 
compact  muscles,  so  that  from  the  very  start  the  training 
lies  chiefly  in  the  acquirement  of  pliancy,  and  mental  con- 
trol over  them ;  while,  on  the  other  hand,  oases  are  not 
infrequent  where,  at  the  ages  of  ten,  twenty,  or  even  twenty- 
five  years,  the  greatest  care  is  necessary  in  exercising  the 
muscles  in  order  to  enable  them  to  slowly  gain  strength 
and  firmness  without  accidentally  producing  cramps,  sprains, 
weeping  sinews  or  other  ruptures  or  muscular  diseases. 

The  teacher  must  be  quick  to  discern  the  pupil's  mus- 
cular characteristics,  whether  suggestive  of  the  soft  tendrils 
of  a  grapevine,  or  of  the  firm,  hardy  vine  itself. 

Whenever  there  is  obvious  necessity  for  protracted  work 
to  brace  up  a  weak  muscular  system,  or  to  render  pliant  a 
naturally  hard  one,  the  problem  with  a  teacher  who  knows 
the  requisite  means  to  be  employed,  becomes,  in  either 
case,  simply  a  question  of  time,  and  not  unusually  a  long 
time. 

The  greatest  of  piano-forte  virtuosos,  Carl  Tausig,  said  that 
when  he  began  his  studies,  at  the  age  of  seven,  every  finger 
was  as  strong  and  clumsy  as  a  piano-forte  leg,  and  that  it 


6 


INTRODUCTION. 


cost  him  a  great  amount  of  effort  to  render  his  fingers  pliant 
and  tractable.  Nevertheless,  he  believed,  on  the  whole,  that 
it  took  less  time  to  limber  up  strong,  clumsy  muscles  than  it 
did  to  impart  to  delicate  or  weak  muscles  the  necessary 
strength  for  the  highest  achievements  in  piano-forte  playing. 

Weak  muscles  thus  requiring  more  protracted  treatment 
than  strong  ones,  it  is  important  to  understand  the  principles 
upon  which  they  develop. 

How  are  weak  muscles  made  strong  ? 

Muscular  tissue  is  cellular,  like  vegetable  tissue.  Take 
two  plants  of  the  same  size,  in  the  same  soil,  exposed  to  the 
same  sunshine  and  the  same  moisture ;  shelter  one  from 
the  wind,  and  the  other,  which  is  exposed  to  the  wind, 
will  soon  excel  in  hardiness  and  size.  The  reason  being 
that  every  time  the  plant  is  bent  to  one  side  its  juice  (or 
"blood")  is  crowded  out  of  the  cells  on  that  side,  to  be 
again  reabsorbed  when  the  pressure  stops  and  the  plant 
reacts  in  the  opposite  direction.  Crowding  the  sap  out  of 
the  cells  in  this  fashion  makes  them  hungry,  awakens  appe- 
tite, and  makes  them  absorb,  sponge-like,  with  more  vigor, 
when  nutriment  comes,  than  otherwise  would  be  the  case. 

So,  also,  with  the  muscles.  Muscles  which  are  never  con- 
tracted in  exercise  or  work  are  always  full  of  blood,  and 
hence  lose  appetite,  and  cease  to  thrive.  They  voluntarily 
starve  themselves,  their  strength  dwindles,  and  they  grow 
fat  and  flabby.  So,  in  practising,  while  we  must  be  careful 
never  to  overtax  the  muscles,  we  must  bend  them  with 
sufficient  energy  to  keep  them  alternately  emptied  and 
refilled  ■ndth  blood.  If  they  work  too  rapidly,  they  are 
kept  continually  emptied,  without  opportunity  to  recover 
their  former  supply  of  nutriment,  —  much  less  to  acquire 
a  greater  quantity.  Hence  rapid  work  expends  strengtli 
and  vitality.  Horses  driven  rapidly  with  light  loads  over 
easy  roads  have  their  strength  quickly  used  up.  Horses 
driven  slowly,  over  bad  roads,  with  heavy  loads,  gain  in 
strength  rapidly. 

Turning  from  these  practical  considerations,  which  every 
experienced  teacher  knows  are  of  the  highest,  most  critical 
importance,  it  still  remains  true  that  quite  as  much  is  lost  by 
failing  to  temper  mercy  with  justice,  as,  on  the  contrary,  fail- 
ing to  temper  justice  with  mercy. 

The  foundations  of  all  that  is  great  are  laid  in  strength. 
The  piano-forte  teohnio  not  founded  upon  the  rock  of  ishys- 
ical  power,  natural  or  accjuired,  must  inevitably  be  wrecked, 
■when  brought  to  the  test,  like  the  house  built  upon  the  sand. 

With  the  pianist  the  problem  of  gaining  the  necessary 
muscular  strength  and  endurance  is  intimately  bound  up 
with  the  problem  of  finger  flexibility ;  for  without  flexibility 
the  right  use  of  the  exercises  indispensable  for  the  acquire- 
ment of  power  is  an  impossibility. 

Everybody  knows  that  piano-forte  playing  requires  flexible 


fingers,  but  who  knows  what "  flexible  "  means  ?  Ninety-nine 
out  of  every  hundred  answer,  "  Flexible  fingers  are  limber  or 
loose  fingers."  But  it  is  no  more  possible  to  play  with  loose 
fingers  than  to  bite  with  loose  teeth.  Let  the  pupil  place 
the  hand  upon  the  muscles  of  the  jaw,  and  it  will  be  found 
that  one  cannot  masticate  even  charlotte  russe  without  hard- 
ening (that  is,  "  contracting  ")  the  muscles  of  the  jaw.  Let 
the  pupil  grasp  the  muscles  of  the  arm  just  in  front  of  the 
elbow  tightly  enough  to  feel  everything  that  goes  on  there, 
and  it  will  appear  that  we  cannot  open  or  close  the  fingers 
even  in  the  lightest  possible  manner  without  hardening  the 
muscles  of  the  arm.  When  we  practise  rowing  a  boat,  the 
object  is  not  to  make  the  muscles  of  the  arm  loose,  but  to 
make  them  firm.  The  harder  they  become,  the  more  obedi- 
ent they  are  to  the  will,  the  more  we  can  do  with  them. 
This  does  not  mean  that  muscular  cram2}S,  resulting  from  over- 
working^ or  wrongly  using  the  muscles,  are  favorable  for  piano- 
forte 2^lai/ing.  There  is  a  difference  between  the  hardening  of 
the  muscles  of  the  jaiv  which  enables  us  to  masticate,  and  the 
disease  called  lockjaio. 

It  reflects  no  credit  upon  human  common  sense,  that  so  many 
people  should  get  lockjaw  in  the  arms,  wrists,  and  fingers  in 
trying  to  work  the  levers  of  the  piano-forte  clavier,  while 
neither  kittens,  nor  any  similar  animals,  ever  suffer  any 
such  disadvantage  or  impediment  in  the  freest,  most  ener- 
getic use  of  claws,  paws,  and  fore-limb  muscles.  To  sit  at  the 
piano-forte,  afraid  to  take  hold  of  the  clavier  levers  with  a  firm, 
decisive  attack,  for  fear  of  cramps  and  sprains,  is  not  practis- 
ing prudently  ;  it  is  simply  begging  tlie  question  and  not 
doing  anything  at  all.  The  longer  one  keeps  at  such  lame- 
duok  business,  the  lamer  the  duck  becomes.  In  such  cases 
the  acquirement  of  a  little  common  sense  is  the  indispensable 
preliminary  to  any  real  piano-forte  work. 

Practice  is  aimed  either  at  the  joints  of  the  hand  and 
arm,  or  at  the  muscular  system. 

Moving  the  bones  in  their  joints  bears  the  same  relation  to 
playing  that  working  the  joint  of  a  knife  blade  until  the 
blade  can  be  opened  and  shut  easily,  bears  to  cutting  or 
whittling.  Finger-lifting  exercises,  hand-lifting  exercises, 
and  forearm-lifting  exercises  aim  simply  at  making  the  joints 
move  easily,  so  that  they  will  not  interfere  Avith  the  action  of 
the  muscles  in  playing ;  but  the  playing  is  done  by  the  mus- 
cles. The  object  of  the  joint-limbering  exercises  is  to  make 
the  joints  sufficiently  loose.  The  object  of  muscular  training 
is  to  make  the  muscles  sufficiently  hard.  One  does  not 
practise  rowing  a  boat  or  using  Indian  clubs  or  dumb  bells 
for  the  sake  of  softening  the  muscles.  The  one  who  has  the 
hardest  muscles  can  command  the  greatest  endurance,  the 
greatest  quickness  of  action,  the  greatest  delicacy,  and  the 
greatest  strength.  The  average  piiano-forte  method  confuses 
the  preliminary  loosening  of  stiff  joints  with  the  subsequent 


lyXRODUCTION. 


training  of  the  muscles ;  hence  the  illustrations  nearly 
always  show  motions  aimed  at  loosening  the  joints. 

In  Mason's  "  Touch  and  Technio,"  on  the  contrary,  the 
illustrations  show  motions  which  develop  the  muscles.  The 
Slow  Trill  ("  See-saw ")  and  other  Legato  five-finger  exer- 
cises are  used  to  limber  the  joints.  In  actual  playing,  all  of 
the  joints  (the  knuckle  joints  as  well)  must  be  visible ;  the 
knuckle  joints  only  slightly  so,  however,  because  if  they  are 
too  prominent  in  practice,  they  thrive  or  swell  so  amazingly 
as  to  disfigure  the  appearance  of  the  hand  in  a  short  time, 
and  render  the  action  of  the  fingers  themselves  clumsj'. 

The  impracticability  of  using  joint-limbering  motions  of 
finger  as  the  basis  of  actual  playing  is  shown  by  the  fact 
that  whenever  a  finger  is  lifted  before  playing,  in  such  a  way 
that  the  knuckle  sinks  out  of  sight,  the  best  part  of  the 
subsequent  contraction  of  the  muscle  for  playing — namely, 
the  initial  effort  —  is  wasted  in  bringing  the  finger  down  to, 
and  the  knuckle  up  to,  the  proper  point  for  a  direct  action 
of  the  muscles  upon  the  bones  of  the  moving  finger. 

All  land  animals  acquire  a  secure,  graceful,  and  effective 
mode  of  locomotion  because  from  the  beginning  of  life 
they  are  compelled  to  allow  the  earth  to  support  the  weight 
of  their  bodies. 

Strong-winged  birds,  such  as  the  eagle,  never  acquire  a 
graceful  walk,  because,  while  in  motion,  they  are  forever 
lifting  their  bodily  weight  from  the  ground  with  their  wings. 
Hence,  half  flying,  they  go  in  a  floundering,  tiptoe  fashion, 
without  either  walking  or  running  solidly  and  gracefully. 

The  pianist  has  the  same  diiSculty  to  contend  with.  The 
strong  muscles  of  the  forearm  at  the  elbow  are  forever 
lifting  the  weight  of  the  arms  off  the  digitals,  so  that  the 
fingers  are  deprived  of  their  natural  burden  of  weight  (arm 
weight),  just  as  the  eagle's  feet  are  deprived  of  the  weight 
of  its  body  by  the  interference  of  its  wings. 

Once  get  the  idea  that  the  problem  of  piano-forte  technic  is 
one  of  animal  locomotion  over  the  solid  surface  of  the  clavier 
(the  rising  and  falling  digitals  being  related  to  the  terra 
firma,  upon  which  the  fingers  walk,  either  as  the  grass  on 
the  lawn  is  related  to  the  ground  on  which  the  carriage- 
wheels  roll,  i.e.,  the  Expression  Touch ;  or  else,  as  the 
grain  in  the  field  is  related  to  the  knives  of  the  mowing- 
machine  which  cuts  it  down,  i.e.,  the  Execution  Touch) ; 
once  get  that  idea,  and  it  becomes  evident  that  the  fingers 
must  neither  stand,  nor  go  upon  the  clavier,  without  carry- 
ing with  them  the  entire  weight  of  the  arm,  from  the 
shoulder  down. 

In  fine  weather,  when  we  are  in  perfect  health,  we  are 
never  conscious  of  the  weight  which  our  feet  carry  around 
while  walking;  yet  the  lightest  and  most  graceful  step 
upon  a  platform  scale  records  our  entire  bodily  weight.  It 
is  only  when  ill  or  exhausted  that  we  ever  feel  our  own 


weight  in  walking  or  standing.  So  the  pianist  never  feels 
the  weight  of  his  arms  in  his  fingers.  The  pressure  is  made 
manifest  solely  by  the  volume  of  tone  given  out  by  the 
digitals  wherever  the  fingers  step. 

In  our  first  exercise  the  palms  of  the  hands  lie  on  the 
white  digitals,  as  a  helpless  infant  lies  on  the  floor.  The 
infant  learns  the  relations  of  its  bochly  weight  to  the  sup' 
porting  surface,  and  the  hands  in  this  position  learn  the 
same  lesson. 

An  infant  lying  on  the  floor  delights  in  moving  its  limbs 
to  and  fro,  though  unable  to  lift  its  bodily  weight.  When 
we  have  learned  to  allow  the  palms  of  the  hands  to  lie 
flat  upon  the  deeply  depressed  digitals  without  the  slightest 
interference  from  the  wing-like  arms,  we  may  then  proceed 
to  move  the  fingers  lightly  and  loosely,  without  lightening 
the  weight  of  the  hands,  or  lifting  their  weight  in  the  least 
degree.  This  free  motion  of  the  fingers,  without  the  co- 
operation of  the  hand,  lays  the  foundation  of  all  pure, 
independent  finger  technic. 

The  fingers  once  being  completely  emancipated  from  the 
hand,  the  wrist  may  be  dropped,  so  that  the  forward  part  of 
the  palm  of  the  hand  may  rise  (without,  however,  allowing 
the  digitals  to  come  up)  sufficiently  to  allow  the  fingers  to 
assume  a  correct,  rounded  position,  standing.  In  this  posi- 
tion the  three  joints  of  each  finger  (the  knuckle  joints  in- 
cluded) must  be  in  sight,  —  all  convex,  none  concave,  —  the 
knuckles  showing  but  slightly,  the  others  decidedly.  Let 
the  hand  remain  in  this  position  until,  like  hair  done  up  in 
curl  papers,  it  easily  retains  the  desired  form. 

Now  exercise  the  hand  in  alternately  lying  flat  upon  the 
digitals,  and  then  drawing  itself  up  into  the  correct  position 
for  playing,  without,  however,  allowing  the  digitals  to  rise 
when  the  hand  changes  its  position. 

In  the  next  stage,  the  fingers  remain  standing ;  the  digitals 
are  depressed  to  the  utmost;  the  wrist  rises.  The  infant's 
body  is  off  the  floor ;  the  hands  are  standing  erect  with  curved 
fingers,  and  on  their  feet  at  last.  Now  practise  standing,  sus- 
taining without  effort  the  weight  of  the  arm  from  the 
shoulders  down.  (Hence  the  importance  of  having  the  seat 
adjusted,  so  that  the  point  of  the  elbow  will  be  just  below  the 
level  of  the  clavier.  If  the  point  of  the  elbow  be  higher  than 
the  clavier,  the  relations  of  weight  of  arm,  and  position  of 
finger,  preclude  the  possibility  of  acquiring  a  natural  technic. 
The  elbow  becomes  at  once  like  the  rudder  of  a  boat,  giving  a 
bias  to  the  effect  of  the  oar-strokes ;  or,  like  the  eagle's  wing, 
taking  the  weight  off  the  fingers.)  Having  once  learned  to 
stand,  an  infant  tries  to  shufHe  from  point  to  point,  by  lean- 
ins  acrainst  something. 

At  this  point  the  teacher  must  judge  whether  the  pupil 
stands  with  sufficient  ease  upon  the  depressed  digitals  to 
admit  of  practising  exercises  in  sustained  notes,  with  one  or 


INTRODUCTION. 


more  moving  fingers,  without  any  clutching,  pulling,  push- 
ing, or  bearing  down  while  keeping  the  digitals  immovable. 
—  Albert  Ross  Paesons. 

3.    THE   METRONOME. 

As  soon  as  the  pupil  has  gained  a  moderate  control  over 
the  muscles  of  the  fingers  and  hand,  the  use  of  the  metro- 
nome is  advocated,  until  the  idea  of  absolute  steadiness  of 
time  has  been  acquired  alike  by  muscles,  nerves,  and  mind, 
in  the  form  of  a  fixed  habit.  Firmness  and  steadiness  of 
step  underlie  all  the  developments  of  the  running,  leaping, 
and  dancing,  with  the  feet;  and  the  same  firmness  and 
steadiness  of  finger  action  are  indispensable  as  the  basis  of 
all  piano-forte  runs  and  leaps ;  in  brief,  of  advanced  technic 
of  all  sorts. 

"  Judicious  practice  with  the  metronome  means  steadiness 
and  repose  of  mind  and  muscles  in  work.  In  relieving  the 
mind  of  responsibility  for  steadiness  of  tempo,  and  supplying 
a  graded  scale  for  safely  increasing  the  speed,  the  mental 
strain  of  prolonged  practice  is  surprisingly  lightened.  Mean- 
while, during  the  longest  journey  down  the   index   of   the 


metronome,  interest  is  sustained  by  the  record  of  distance 
traveled,  and  the  possession  of  a  schedule  of  successive 
points  yet  to  be  overtaken.  Such  a  record,  day  by  day,  and 
week  by  week,  of  natural  and  steady  growth  in  execution, 
often  affords  solid  encouragement,  where  without  it  both  stu- 
dent and  teacher  might  be  discouragingly  unconscious  of 
progress  actually  made. 

"  For  the  removal  of  obstructions  encountered  at  particular 
points  in  pieces,  set  the  metronome  at  a  decidedly  slow  tempo 
at  the  start.  Execute  the  difficult  passages  with  decision 
two  or  three  times,  then  take  the  tempo  one  notch  faster ; 
repeat  for  the  same  number  of  times,  and  advance  still  an- 
other notch.  Renew  this  process  until  four  successive 
notches  have  been  passed.  Then  turn  back  three  at  once, 
and  resume  work  from  a  point  one  notch  in  advance  of  the 
original  start.  Continue  this  zigzag  process  of  advancing 
four  notches,  and  then  turning  back  three  until  the  highest 
speed  with  accurac}'  at  present  attainable  is  reached.  If  this 
does  not  meet  the  needs  of  the  music,  then  determine  how 
far  back  to  go  in  the  metronome  tempo  for  a  fresh  start."  — 
From  The  Science  of  Piano-Forte  Practice:  Albert  Ross 
Parsons.     Published  by  G.  Schirmer. 


NOTE. 

In  the  preparation  of  this  work  the  aim  has  been  to  arrange  the  material  upon  a  logically  progressive  basis.  But  there  are  many 
cases  in  which  the  temperament,  age,  or  physical  condition  of  the  pupil  makes  it  necessary  to  modify  the  plan  somewhat.  It  is 
suggested  that  in  all  cases  Sections  III.,  X.,  and  XL  should  be  included  (if  only  in  part)  in  the  first  lesson,  and  that  the  writing  of 
notes  should  begin  as  early  as  the  second.  The  "  Air  and  Variations,"  —  No.  1  of  the  selections  mentioned  upon  page  2,  opposite  the 
Preface,  —  may  be  learned  at  the  end  of  Section  XX.  And  the  "  Illustrations  of  All  Tonalities,"  page  57,  as  well  as  Nos.  2  to  6  of 
the  Selections,  are  to  be  used  after  the  quint  succession  and  harmonic  alphabet  have  been  learned.  Selections  7  and  8  are  more 
difficult. 

The  Teacher  is  urged  to  use  in  connection  with  this  part  of  the  Method,  The  Practical  School  of  Transposition,  which  begins 
with  five-note  melodies,  and  familiarizes  the  pupil  with  the  simplicity  of  transposition. 


THE  SYNTHETIC  METHOD  FOR  THE  PIANO-FORTE. 


-;»*><««?*- 


[The  chart  found  in  the  back  cover  of  the  book  is  to  stand  on  the  ivory,  behind  the  black  keys,  next  to  the  name  board,  so  that 
the  black  squares  on  the  chart  are  hidden  by  the  ends  of  the  black  keys.J 

I.    THE   MUSIC   ALPHABET. 


Do  you  see  that  the  letters  written  along  the  bottom 
of  this  card  begin  with  seven  large  letters  (capitals)  ? 

Then  come  seven  small  letters.  Afterwards  seven 
small  letters  having  a  line  over  each.  Then  seven 
more  having  two  lines  over  each ;  and  at  the  very  end 
diere  is  a  small  c  with  three  lines  over  it. 

In  music  there  are  only  seven  letters  ;  but  as  they  are 
used  over  and  over  again,  they  are  marked  differently 
each  time. 

If  you  count  the  letters,  beginning  with  the  capitals, 
you  will  find  that  the  eighth  letter  is  C  again. 

From  any  letter  to  the  nearest  letter  having  the 
same  name,  is  called  an  Octave. 

Octave  means  eight. 

So  we  say  that  all  the  capital  letters  belong  to  the 


great  octave ;  the  small  letters,  to  the  small  octave. 
Those  marked  with  one  line  belong  to  the  once-lined 
octave.  Those  having  two  lines  belong  to  the  tivice- 
lined  octave. 

To  begin :  Please  find  great  C  and  sound  it ;  small 

All  these  letters  are  called  "  C,"  but  they  are  quite 
different  in  sound. 

The  difference  in  sound  is  called  Pitch. 

Small  C  is  higher  in  pitch  than  great  C.  Twice-lined 
C  is  lower  in  pitch  than  three-lined  c.  Small  c  is  lower 
in  pitch  than  once-lined  C. 

Now  find  G,  g,  g,  g,  etc.,  through  all  the  letters. 
Words  to  be  remembered  :  Octave,  Pitch. 


II.    DIGITS:   AND  WHERE  TO  USE  THEM. 


The  sound  of  the  Piano-forte  is  produced  by  the  pres- 
sure of  the  fingers  (digits)  upon  these  little  levers  of 
ivory  and  ebony,  called  Digitals. 

The  row  of  Digitals  is  called  the  Clavier  or  Key- 
board. 

The  right  side  of  the  Clavier  is  called  "  the  top,"  and 
the  left  side,  "  the  bottom." 

The  white  digitals  produce  the  Primary  Tones 
(Naturals). 


Primary  Tones  are  so  called  because  they  were  the 
only  tones  used  for  a  great  many  years. 

Do  you  see  that  there  are  groups  of  two  and  three 
black  digitals  distributed  among  the  white  ones  ? 

Suppose  I  had  never  seen  a  clavier,  and  you  were  to 
try  to  explain  where  each  letter  is  to  be  found,  how 
would  you  describe  the  position  of  C  ?  of  F  ?  of  E,  B, 
D,  G,  A? 

Words  to  remember :  Digitals,  Clavier. 


(9) 


10 


THE  SYNTHETIC  METHOD  FOR    THE  PIANO-FORTE. 


III.    FISTS   AND   FINGERS. 

[Note.  —  The  teacher  must  judge  whether  it  is  best  to  stand  the  child  beside  a  table,  or  to  put  a  large  book  upon  his  knees,  to 
provide  a  flat  surface  upon  which  to  drop  the  hands.  (On  no  account  must  the  hand  strike  the  surface.)  There  must  not  be  a  particle 
of  rigidity  in  the  muscles  while  the  hand  lies  upon  the  table,  and  as  it  is  drawn  away  from  the  table,  the  motion  must  be  made  so 
that  the  finger  tips  cling  to  the  surface  as  long  as  possible.  The  actual  closing  of  the  hand,  and  the  dropping  of  it,  must  be  done 
like  a  flasli,  exactly  upon  the  counts.     Set  the  Metronome  at  72  =    ^.] 


Count  eight  as  evenly  as  possible.  At  1  drop  the 
hand,  with  outspread  fingers  —  palm  down  —  upon  the 
table.  Continue  counting  the  small  figures,  2,  3,  4,  and 
at  5  draw  the  hand  away,  and  up  from  the  table  as 


quickly  as  possible,  and  shut  it  tight,  with  the  thumb 
over  the  third  and  fourth  fingers.  Continue  to  hold  it 
shut  while  you  count  6,  7,  8.  At  1  drop  the  hand 
again,  and  clench  the  fist  at  the  other  Iq.rge  figure  in 
each  set  until  the  end. 


1         2 

3 

4 

5 

6 

7 

1         '^ 

3 

4 

5 

6 

7 

1         2 

8 

4 

5 

6 

7 

1         2 

3 

4 

5 

6 

7 

1         2 

3 

4 

5 

6 

7 

1        2 

3 

4 

5 

6 

7 

1        2 

3 

4 

5 

6 

7 

8 


IV.     HOW    TO    EXERCISE    THE    FINGERS    AS    IF    THEY  WERE    SCISSORS. 


Hold  the  hands  out  in  front  of  the  body,  with  thumb 
side  up,  the  little  finger  side  down,  and  the  palms 
facing  each  other  about  a  foot  apart.  Let  the  fingers 
touch  each  other  lightly.  Do  not  make  the  hand  stiff 
in  any  part.     Then  lift  up  the  second  finger  and  shut 


it  again,  just  like  scissors  —  make  12  cuts.  Then 
divide  the  four  fingers,  so  that  the  second  and  third 
make  one  scissors  blade,  and  the  fourth  and  fifth  make 
another  —  cut  12  times.  Then  close  the  second,  third, 
and  fourth  finsers,  and  cut  with  the  fifth  12  times. 


In  conjunction  with  the  above,  exercise  the  thumb  by  crossing  it  over  the  palm  so  that  its  tiji  extends  beyond  the  knuckle  where  the  fifth 
fi^nger  joins  the  palm.      Alternately  expand  the  hand  and  cross  the  thumb  12  times. 


V.    RELAXATION. 


Have  you  ever  seen  a  boat  come  up  to  a  dock,  and 
watched  one  of  the  deck  hands  throw  off  a  rope  to 
fasten  her  to  her  moorings?  And  have  you  seen  how 
tight  and  hard  the  rope  was  as  long  as  the  boat  kept 
pulling  away  from  the  shore  ?  Then,  have  you  seen 
the  boat  drift  close  to  the  dock,  and  how  that  rope, 
which  was  like  a  straight  iron  bar  while  the  boat  pulled 
away,  has  gradually  loosened,  until  it  hangs  down  and 
swings  back  and  forth  ju.st  as  flexibly  as  a  little  girl's 
skipping-rope  ?  Do  you  know  why  the  rope  sagged  in 
a  curve  from  the  ends  ?     It  was  because  the  heaviness, 


or  iveight  of  the  rope,  pulled  the  middle  of  it  as  far 
as  possible  down  from  the  ends. 

The  first  thing  to  be  learned  by  our  hands  is  how  to 
make  our  fingers  step  Legato.  That  is  a  hard  word  to 
remember,  but  it  tells  us  about  the  most  important 
thing  in  piano-playing.  Legato  means  to  bind,  or  tie 
together.  Presently,  when  you  begin  to  play  melodies, 
the  tones  will  have  to  be  played  Legato,  which  means 
that  one  sound  must  not  stop  until  the  next  sound 
begins. 

Suppose  we  stand  your  instruction  book  up  on  the 


THE  ELEMENTS   OF  MUSIC  AND  PIANO-FORTE  PLAYING. 


11 


digitals,  and  hold  it  there  with  the  left  hand,  and 
"make  believe"  that  it  is  the  dock.  Your  shoulder 
may  do  duty  as  the  ship,  and  your  right  arm  can  be 
the  rope.  Now  crook  the  middle  finger  of  the  right 
hand  like  a  little  hook,  and  catch  it  over  the  top  of  the 
book.  Then  let  your  right  arm  hang  there  from  that 
finger,  just  like  a  rope,  and  let  it  swing  from  side  to 


side  until  you  feel  that  it  is  getting  very  heavy.  Ther. 
take  the  second  finger,  and  liook  it  over  the  book-top  — 
and  so  on  until  the  arm  has  swung  from  the  four  fingers 
of  the  right  hand.  Then  hold  the  book  in  place  with 
the  right  hand,  and  do  the  same  exercise  with  the 
fingers  of  the  left  hand.  Hold  each  finger  of  eight 
slow  counts  :  then  6  :  then.  4:3:2  and  one. 


VI.    HOW  WE    LEARN  TO   WALK. 


When  an  infant  is  very  small,  it  only  knows  enough 
to  breathe  and  to  lie  still.  Our  hands  are  something  like 
two  infants.  First  of  all  they  must  learn  to  lie  quietly 
upon  the  clavier.  If  we  call  the  clavier  our  ground,  then 
the  digitals  —  that  fall  when  our  fingers  lie  on  them, 
and  come  up  again  as  soon  as  our  fingers  are  removed 
—  are  like  the  grass  that  carpets  the  earth.  Place 
your  left  hand  over  B,  C,  d,  e,  f,  and  the  right  over 
b,  C,  d,  e,  f .  Push  the  hands  so  far  towards  the  name- 
board  that  the  middle  finger  is  wedged  in  between  the 
two  black  digitals  so  tightly  that  they  fit  down  close 
to  the  hand,  as  in  the  hands  of  the  picture.     Keep  the 


palms  of  the  hands  solid  upon  the  digitals,  and  let 
them  rest  while  we  count  100  to  500.  Don't  push  the 
digitals  down,  but  let  the  heaviness  of  your  arms  keep 
the  hands  in  place. 

Very  soon  an  infant  learns  that  it  is  quite  safe  lying 
still,  and  then  it  begins  to  move  its  arms  ami  legs,  and  to 
reach  out,  strilie,  and  kick,  without  making  the  slightest 
effort  to  raise  its  body.  Let  us  teach  the  fingers  to 
move  easily  in  all  directions.  Do  not  let  the  palms  of 
your  hands  rise  at  all,  iecaicse  if  you  do,  the  dir/itals  ivill 
rise  too.  The  infant's  body  lies  quiet  while  its  arms 
and  limbs  move  about,  so  you  must  keep  your  hands 
quiet  in  the  same  way  while  the  fingers  are  moving. 
Move    the    fingers    up    and    down,  sideways,  and  curl 


them  under,  while  we  count  twenty  slowly,  but  do  not 
move  the  thumb. 


When  an  infant  has  gathered  strength  enough  in  his 
muscles,  he  tries  to  stand  on  his  feet.  Of  course  in  the 
first  place  it  is  necessary  to  hold  him  up,  but  little  by 
little  he  is  able  to  bear  his  own  weight.  Let  us  train 
our  hand-infants  in  the  same  way.  While  the  digitals 
are  still  kept  in  place  by  the  weight  of  the  arm,  drop 
the  wrists  a  little,  and  that  will  raise  the  knuckles 
away  from  the  digitals.  Then  curve  the  finger  tips 
under  until  they  rest  upon  the  digitals,  like  the  fingers 


in  the  picture 
can  be  seen. 

The  infant  next  learns  to  stand  alone 


Be  sure  that  the  three  sets  of  joints 

Draw  your 


12 


THE  SYNTHETIC  METHOD  FOR    THE  PIANO-FORTE. 


hands  towards  you,  out  of  the  way  of  the  black  digitals. 
Place  your  fingers  in  the  curved  shape,  and  lift  the 
wrists.  This  will  take  the  palms  away  from  the  digitals, 
and  allow  the  heaviness  of  your  arms  to  rest  entirely 
on  the  finger  tips.     Hold  them  thus  and  count  100. 

Having  learned  to  stand,  an  infant  tries  to  shuffle 
from  point  to  point  by  leaning  against  something. 
Place  your  fingers  over  B,  C,  D,  E,  F.  Now  slide 
them  along  the  digitals  so  that  they  only  cover  C,  D, 
E,  F,  getting  rid  of  the  little  finger  of  the  right  hand 


and  the  thumb  of  the  left.  Then  lift  the  fifth  finger 
of  the  right  hand  (thumb  of  the  left)  and  sound  G. 
Slide  again,  lift  the  finger  and  sound  the  next  tone. 
The  best  way  to  make  these  motions  is  to  say  sound 
when  the  finger  goes  down,  slide  when  the  fingers  are 
shifted,  and  ui^  when  the  finger  is  raised.  Continue 
shifting  until  the  hand  has  covered  each  five-finger 
section  up  the  octave.  Then  reverse  the  motion,  and 
come  back  by  lifting  the  fifth  finger  of  the  left  and  the 
thumb  of  the  right  hand. 


VII.     FINGER-LIFTING. 


When  the  infant  has  learned  to  stand  alone,  he  begins 
to  try  to  bear  his  weight  upon  one  foot  while  the  other 
limb  is  free.  Our  hands  must  learn  how  to  bear  the 
arm-weight  upon  one  finger.  To  do  this  we  must  first 
gather  the  five  finger-tips  into  a  rosette  and,  while 
keeping  the  fingers  in  that  position,  rest  the  rosette 
upon  the  surface  of  the  table  (or  book,  or  piano  lid). 
Then,  leaving  the  second  finger  standing  alone,  lift  the 
other  four  fingers,  as  in  the  picture.     Alternately  close 


The  Five  Tips  gathered  into  a  Rosette. 


the  fingers  into  a  rosette,  and  lift  again  eight  times ; 
then  use  the  third  finger  as  a  support,  close  and  lift 
eight  times.  Then  the  fourth,  fifth,  and  fourth  and 
third  again.  When  the  second  finger  is  reached,  lift 
six  times.  Support  the  weight  upon  each  finger  in 
turn,  lifting  six  times ;  again  lifting  four  times,  three 
times,  twice,  once. 


The  Ann-Weight  supported  upon  One  Finger,  while  the  Other 
Four  Fingers  are  lifted. 


VIII.     SIGNS    FOR    SOUNDS. 


Instead  of  using  the  letters  of  the  alphabet  in  writing 
music,  we  use  little  signs  called  Notes. 

Over  each  letter  on  the  chart  there  is  a  note. 

You  see  that  there  are  two  sets  of  five  lines  running 
from  one  side  of  the  chart  to  the  other. 

Each  set  of  five  lines,  together  with  the  spaces 
between  the  lines,  is  called  a  Staff. 

A  staff  is  something  to  lean  upon,  or  to  hold  one 
up. 

A  music  Stapf  holds  the  Notes. 


The  five  lines  are  counted  from  the  bottom,  upwards. 
Nearly  all    piano-forte   music    is  written    upon    two 
staves,  joined  together  at  the  left  side  by  a  Beace. 


THE  ELEMENTS  OF  MUSIC  AND   PIANO-FORTE   PLAYING. 


13 


The  upper  staff  receives  the  notes  to  be  played  by  the 
right  hand  ;  the  lower  one  receives  the  notes  for  the  left 
hand. 

The  staff  for  the  right  iiand  is  always  written  above 
that  for  the  left  hand.     The  notes  written  upon  it  are 


higher  in  pitch  (that  is,  they  sound  higher)  than  those 
upon  the  lower  staff'.  _ 

Which  hand  is  to  play  g;  a;  C;  d;  f;  c;  A;  e; 
5;  c;  G? 

Words  to  remember ;  Notes,  Staff. 


IX.    SIGNS   FOR  PITCH. 


In  order  to  show  which  particular  note  belongs  upon 
any  line,  or  in  any  sf)ace,  there  is  a  sign  written  at  the 
beginning  of  every  staff,  just  in  front  of  the  brace  that 
tells  us  where  one  letter  is  written ;  and  knowing  that 
one,  we  can  easily  find  out  where  the  other  letters 
are  written. 


The  sign 


at  the  beginnmg  of  the  right- 


hand  staff  is  called  the  G  Clef.  Only,  instead  of  saying 
"  Right-hand  staff,"  it  is  correct  to  call  it  the  Treble 
Staff.  By  and  by  we  will  explain  why  it  is  called 
Treble  Staff. 


The  clef  for  the  left  hand  ^^±E^  is  the  F  Clef 


It  is  correct  to  call  that  staff  the  Bass  Staff.  Bass  is 
only  another  way  of  spelling  Base.  Base  means 
foundation  —  the  bottom  of  anything.  The  bass  staff 
is  the  lowest  staff. 

Do  you  know  that  many  things  grow,  besides  plants 
and  animals  ?  The  letters  of  which  these  words  are 
made  grew.  That  is,  they  were  not  always  the  same 
kind  of  letters  as  are  used  now.  The  first  writing  in 
the  world  was  done  by  means  of  pictures.  In  Central 
Park,  New  York,  there  is  an  Obelisk  called  Cleopatra's 
Needle,  and  on  it  there  are  picture-letters.  The  picture 
from  which  the  letter  M  grew  was  an  owl's  head.  The 
two  points  at  the  top  of  M  are  like  the  "  horns  "  of 
an  owl,  and  the  middle  point  at  the  bottom  is  like  its 
beak.  Here  are  some  clefs  to  show  you  how  G  and  F 
have  grown  from  those  -letters  in  the  Arabic  alphabet 
to  the  G  and  F  Clefs  written  upon  the  music  staff 
to-day. 


t 


Arabic  G. 


9 


Arabic  F. 


^ 


G  Clef. 


F  Clef. 


Old  English  Clefs. 


£ 


W 


-it 


m 

^ 


Look  at  the  Bass  Clef.  Do  yon  see  that  it  is  turned 
around  the  fourth  line  of  the  staff  ?  Follow  the  line 
along  until  you  come  to  the  note  written  upon  it. 
Which  letter  is  it  ?  To  which  octave  does  it  belong  ? 
Some  people  always  call  small  f ,  "  Clef  f ."  Play 
clef  f. 

Look  at  the  Treble  Clef.  Do  j'ou  see  that  the  curve 
of  it  is  curled  around  the  second  line  ?  Follow  that 
line  until  you  come  to  the  note  written  upon  it.  The 
Treble  Clef  is  written  upon  the  second  line.  Play 
clef  G._ 

Find  c.  Play  it.  This  C  is  generally  called  "  Middle 
C,"  because  it  is  written  exactly  between  the  two 
staves,  on  a  short  line  by  itself,  called  a  Leger  Line 
(light    line).     If  you  place  both  thumbs  upon  it,  and 


14 


THE  SYNTHETIC  METHOD  FOR    THE  PIANO-FORTE. 


put  each  finger  over  one  digital,  until  all  five  fingers  of 
each  hand  are  down,  you  will  find  that  your  little 
fingers  cover  the  two  clef  notes. 

See  MS.  Music  Book,  Part  I. 


Terms  to  remember :  F  Clef,  G  Clef,  Bass  Staff 
Treble  Staff. 

Music  that  is  written  by  one's  own  hand  is  called 
Manuscript  music. 


X.    TONAL  GRAVITATIONS. 


If  you  look  at  the  note  belonging  to  middle  C  upon 
the  clavier  chart,  you  will  find  1  marked  over  and 
under  it.  That  is  because  C  is  the  first  of  the  primary 
tones.  But  instead  of  1  being  the  beginning  of  the 
tones,  it  is  the  centre,  and  it  is  called  the  Tonic,  "  the 
tone";  the  same  as  we  call  our  scriptures  the  Bible, 
which  means  "  the  book."  The  tonic  is  the  tone  to 
which  all  the  other  tones  are  obedient.  We  say  that 
the  other  six  letters  belong  to  the  tonality  of  C,  because 
C  draws  all  the  other  tones  toward  itself,  just  as  a 
magnet  attracts  bits  of  iron  and  steel. 

[Note.  —  Where  the  pupil  is  very  young,  the  tonic  may  be 
explained  as  the  "mother  tone,"  whose  little  ones  love  to  stay 


near  her.     They  speak,  and  she  answers  them;  e.g.  in  No.  1,  VII 

speaks,  and  is  immediately  answered  by  I.] 

Every  jjiece  of  music  must  end  upon  the  Tonic. 

In  order  that  you  may  learn  to  know  the  tonic  when 
you  hear  it,  we  shall  begin  with  some  of  the  usual 
endings  upon  the  tonic.  Press  down  the  digitals  under 
the  figures,  as  they  are  given  upon  the  clavier  chart, 
and  sound  the  tones  according  to  the  numbers.  Make 
the  tonic  a  little  louder  than  the  other  tones,  and  hold 
down  its  digital  for  as  long  a  time  as  it  took  to  play 
all  the  other  tones  put  together.  (The  line  across  the 
page  stands  for  the  tonic  level.) 


[Note.  —  There  need  be  no  attempt  at  playing  these  endings.  The  tones  are  merely  to  be  soiinded  in  order  that  the  child  may 
become  accustomed  to  the  gravitation  of  the  other  degrees  towards  the  tonic.  As  soon  as  possible  the  child  should  write  the  twenty- 
six  endings  in  staff  notation  (on  two  staves)  from  dictation  of  numerals.  Small  hands  would  better  use  the  lower  figures  for  the  left, 
and  the  upper  for  the  right  hand.] 


1 

1 

2 
II 

1 

3 

11 

1 

4                                5 

III                             III          II 

1 

1 

6                                                     7 

III         II                               1                                  1 

1       1                          1        1 

VII 

1 

1 

VII 

1 

1 

1                                1'       1 

Vli                  VI              1 

10 


III  I 


III  II 


12 


II 


13 
III    II 


VI  VII 


II  VI  VII 


II  VI  VII 


il  VI  VII 


II        VI  VII 


VI  VII 


u 

1 

15 

1 

16 

II 

1 

17 

1 

1 

18 

III 

19 

III  II 

1 

20 

III  II 

1 

1 

1 
V 

1  V  VII 

1  V  VII 

V  VI  VII 

1 

V 

1 

V 

V  VI 

1 

21 

III 

1 

22 

1  "' 

1 

23 

IV  1 

1  II 

24 

IV  III 

25 

2R 

^      |IV             1, 

1 

V  VI  Vli 

1 

1  V          VII 

1 

VII 

1        VI  VII 

'      1        V  VII 

1 

Befeeencb  foe  Teaohees. 
1  2 


i 


iHi 


m 


mi 


-251- 


-TZlr 


•iS- 


■iS- 


-&- 


19- 


.— g. 


-19- 


i 


THE  ELEMENTS    OF  MUSIC  AND  PIANO-FORTE  PLAYING. 
9  10  11  12 


15 


13 


■^  ^  ^ 


:il=± 


-'*-  ^ 


-1*^ 


^=d:b 


i  ■*•    -^ 


14 


16 


17 


18 


19 


20 


Sr 


-S5l- 


■jS-      -«■ 


:l=1= 


-I*-  — F 


tS^. 


1^ 


-•— *- 


21 


i 


22 


23 


24 


25 


26 


111^01 


dz:^: 


Ui 


*  -*  •         5  V  -^" 


;ii 


[Note. — At  the  first  possible  opportunity  the  teacher  should  have  the  pupil  begin  melody-playing;  and  familiar  melodies  should 
also  be  played  by  the  teacher,  in  order  that  the  pupil  may  learn  to  identify  the  melodic  trend  in  some  simple  hymns  or  popular  tunes.] 


Silent  Exchange  of  Fingers. 


When  little  children  first  learn  to  walk,  they  always 
wish  to  go  upstairs.  But  they  do  not  step  upon  one 
stair  with  one  foot  and  upon  the  next  stair  with  the 
■other,  as  grown  people  do;  they  have  to  be  content 
with  stepping  up  with  one  foot  and  bringing  the  other 
foot  to  stand  beside  it  on  the  same  stair. 

We  are  to  learn  how  to  step  up  with  our  fingers. 
This  exercise  is  called  "  Silent  Exchange  of  Fingers,"  be- 


cause when  the  sounding  finger  has  pressed  its  digital 
down,  another  finger  takes  its  place  without  allowing 
the  digital  to  move  or  the  sound  to  cease.  We  shall 
start  the  left  hand  upon  small  C  as  the  tonic,  and  the 
right  hand  upon  twice-lined  c.  Lift  the  finger  that 
comes  away  from  the  digital  as  high  as  in  the  picture 
upon  page  12,  but  always  curved. 


Keference  for  Teachers.  —  (The  dots  at  the  right  side  of  the  numerals  indicate  the  twice-lined  or  once-lined  octave.) 
32  32  32  3-  2       3  23  23  2323  2-  32  32  3 


II        III      111      IV     IV     III      III 


I     I    VII  VII  vr  VI  V    V  VI  VI    VII  VII    i- 


Reference  for  Teachers.  —  (The  dots  at  the  left  side  of  the  numerals  indicate  Great  octave.) 

23  23  23  2-  32  32  32  32  32  3-  23 


=9^g=^  =S=g^  ^-^ 


-G>- 


•^=t 


II 


?=£=  =?-=£=  =2^3^:  =: 


-'g-'g-H-g^-i^- 


-I5>- 


-?^-7:t±-^=z^ 


I      I 


::sL 


ill    III   IV  IV     III    III      II     II       I      I       Vll  VII  .VI   .VI    V   .V   .Vi   .VI     VIIVII       I 


„  .  ,     (EightHand  42:  63;  21:  54:  31:  43:  52:  41:  51 

Kepeatwitn  |LeftHand    24:  35:  12:  45:  13:  34:  25:  14:  15 


N.  B. — Where  there  is  difficulty  in  learning  how  to  surrender  the  arm-weight  to  the  digitals,  repeat  the  exchange  of  fingers  upon 
the  same  digital  eight  times  before  proceeding  to  the  next  note.  The  same  sets  of  repetitions  that  are  given  for  finger-lifting  may 
be  followed. 


is 


THE  SYNTHETIC  METHOD  FOR   THE  PIANO-FORTE. 


■exeecises  foe  finger  contkol. 
(in  tonality  numbers.) 

[In  the  following  pieces  the  tonality  numbers  are  given.  As  each  figure  will  represent  a  quarter  note,  the  time  can  easily  be 
kept  even,  and  there  need  be  no  confusion  about  the  rhythm.  Teach  the  left  hand  first,  because  otherwise  the  child  will  associate 
the  numbers  with  fingers  rather  than  tones.  Instead  of  counting  tlie  time,  it  will  be  better  to  say  aloud  each  tonality  number ;  and 
where  the  ties  come,  to  say  "wait,"  e.g.  I  II  I  I  would  be  "one,  two,  one,  wait."  At  the  commas  di'aw  the  hand  away  from  the 
digitals,  and  suspend  it  in  the  most  relaxed  position  over  the  black  digitals. 

While  the  child  is  learning  to  play  these  melodic  phrases,  the  study  of  the  staff  notation  and  writing  exercises  should  be  continued, 
but  the  reading  of  notes  postponed  until  Section  XX. 

In  Exercises  1,  2,  and  4,  where  the  metronome  is  used,  it  may  be  set  at  72  (bell  at  4),  and  gradually  increased  until  100  is  reached. 
For  No.  3,  change  the  bell  to  3,  and  have  two  bells  in  each  measure.] 

{The  Staff  Notation  of  these  Exercises  is  given  on  Page  67.) 


Place  your  left  hand  with  the  fingers  upon  c,  d,  e,  f, 
g  (and  the  right  hand  over  the  same  notes  an  octave 
higher). 

All  the  tones  that  belong  to  the  figures  are  the  same 
in  length. 

The  figures  are  to  follow  each  other  as  evenly  as  the 
ticking  of  the  clock.     Whenever  there  is  a  curved  line 

No.  1. 


(Ill  III)  over  two  figures,  it  means  that  the  first  figure 
is  held  down  as  long  a  time  as  both  figures  together. 
Such  figures  are  "  tied  "  together.  Sometimes  all  four 
figures  between  the  upright  lines  are  tied,  so  that  there 
is  only  one  continuous  sound,  equal  in  length  to  the 
four  little  ones.  Make  the  first  sound  after  the  upright 
lines  a  good  deal  louder  than  the  others. 


I   II    I 


Ml    M      I  II    III      III    II 


II   I   II  III   II   II  I   II  III   II   II  I   II  III   II  III  I   II  III   II   II 

III    I    III    IV    iiOii'l    III    IV    iiOii' I    III    IV    III    IV   I    III    IV    11011 


IV 


IV   V  IV  IV    IV   V  IV  IV    IV   V  IV   V    IV   V  IV  IV 


V  IV   V   V     V  IV   V   V     V  IV   V  IV     V  IV   V   V 


^      I     IV     III     IV     IV     I     IV     III     IV     IV     I     IV     III     IV     III     I     IV     III     IV     IV 

^    I   III    II   iifTii'l   111    II   iiPTii'l   111    II   111    II   I   111    II   iiPTir 

^^     I      II       I      lf~1l '  I      II       I      lOl  'I      II       I      II       I     I      I!     Ill       O  ' 


No.  2. 


I   I 


II      I      11     111     IV     IV     I      II     111     IV     IV     I      II     III     IV      11     I     III     IV      II      II 

III  I  111  IV  \r~\'\  III  IV  v"^' I  III  IV  V  111  I  IV  V  iir~iii 


IV   V  IV  IV    IV   V  IV  IV    IV  V  IV  V    IV   V  IV  IV 


THE  ELEMENTS   OF  MUSIC  AND  PIANO-FORTE  PLAYING. 


It 


V     IV     III     III  V     IV     III     III 


VI  IV     111      II      II  IV     III      11      II 


V"       111     II     I     I '     II 


II     I    11    II 


I     II    II 


No.  3.  — Six  counts  ;  the  short  line  comes  between  t 


I     II    111    I    IV    IV    IV 


II    111    IV    I     V     V     V 


111    IV     V    I    IV    IV    IV 


IV     V    IV   I    III    III    1 


V    IV    111    I     II     II     1 


IV    III     II    I     I       I 


III     II      I    I     II     II     I 


I     II    I    111    III    11 


No.  4.  —  Four  counts. 


II    Ml    I    IV    IV    IV 


11    III    IV    I     V     V     V 


111    IV     V    I    IV    IV    IV 


IV     V    IV    I    111    111    II 


V    IV    111    I     II     11     1 


IV    111     II    I     I       I 


111     II      I    I     II     II     I 


I     II    I    III    Ml 


V     IV     III      V     I     IV  III  V      V 

IV  111  II  IV  I  Ml  II  iv"~rv 

ill  II   I  III  I  II  I  iirTiT 

II       I      II       I     I      II  Ml  1^ 

le  third  and  fourth  counts. 


I    II  Ml  IV     V   V    V   V        I    II  III  IV     V    V    V    V 


II  III  IV  V      IV  IV  IV  IV      II  111  IV  V      IV  IV  IV  IV 


II IV  V  IV    III  III  Ml  III    III  IV  viv    111  mill  III 


IV  V  IV 


V  IV  II 


IV 


III  II 


II  I  II  II 


II  II  II  I 


I    I 


II  II   II 


IV  V  IV  III      II    11    II    II 


V  IV  III   II      I      I     i      I 


IV  III  It   i    II  II  II  n 


II  111  III  Ml'  III  11  III  I  III  III  III  III 


IV  IV  IV  IV      II     I   II  III      IV  IV  IV  IV 


I     II    III    I    IV      I     II 


II    III    IV   I    V     11    111 


Ml    IV    V   I    IV    Ml    IV 


IV    V    IV   I    III    IV     V 


V    IV    Ml    I     11    Ml    IV 


IV    Ml     II    I      I     II    Ml 


III    II    I  I   II  III    II 


II    I   II  I  111    II    I 


I    II  111  IV      V    I    11  Ml 


11  Ml  IV   V      IV   11  III  IV 


III  IV  V  IV      111  IV  V  IV 


IV  V  IV  111       II  IV  V  IV 


V  IV  III    II        I   V  IV  111 


IV  111   II     I       II  IV  III    II 


III  II   I  II    III  II   I  II 


II     I    II  111      IV  II     I    II 


III    IV      I    I     II     II     II 


IV    V     11    I    Ml    111    III 


V   IV    111 


IV    III    IV 


V    IV    Ml 


IV    Ml     II 


II    Ml 


II    III     II    I     I      I 


IV    IV    IV 


V     V     V 


I    I 


II    II   II 


IV  V    I    II      III  IV  V  V 


V  IV    II  III      IV  V  IV  IV 


III  IV  V  IV     III  IV  V  V 


II  IV  V  I  IV  III 

I  V  IV  I  III   II 
II  IV  ill  I    11  III 

II  I    II  I  Ml   II 

iTTTii  iTii  I  I    I 


I  II 


18 


THE  SYNTHETIC  METHOD  FOR    THE  PIANO-FORTE. 
Four-Hand  Pieces.  —  Duets. 


The  left  hand  over  c,  d,  e,  f,  g ;  the  right  an  octave  higher.  (For  staff  notation  see  page  72.) 

So.  1.  ^'     "    '"    "    ">  Odk  to  Joy.  Beethoven. 

Ill      III      IV      V     I   V      iv      III      II    I  I       I       II      III    I    III      II      iOi 

Moderaio. 


iej 


:i=± 


^=4- 


:± 


:|=:i: 


:± 


P 


Teacher. 


V Jr 


^EE^ 


-^ k 


III         III         IV 


V         IV 


I      I 


1^ 


j=:i=i 


±=:i- 


i^ 


Place  the  left  hand  over  g,  a,  b,  C,  d ;  the  right  an  octave  higher. 

<^    '"    ""'    '     '"  Enooukagement. 


1 

1 

II 

II 

1 

II 

'—■ 

-N  -^ 

~^  ^ 

-~- 

V 

1 

VII 

1 

VI 

1 

VII 

VI 

VII 

V 

V 

V 

V 

Do 

your 

best, 

your 

ver 

-   y 

best, 

and 

do 

it 

ev 

ery 

day; 

- 

- 

Allegro. 


:9!e: 


I      I      I      I      I      I      I 

$        J        $        $         -^       ^       jU 

-' — * — %*^=^    '     '     ' 


L  ^    ^-   i  k  i  1  yi  i 


^ 


=F- 


■iSh  . 


■»- 


t^ 


I 


1 


I 


I 


V  VII 

Lit    -    tie  boys     and 


VI 

lit     -      tie        girls,     that 


VII       V        VI        VII 

is         the         wis     -     est 


I        I         I         I 


way. 


-#-■•■,*■«■  -^#-        -*#■        -^        -«#■        ■»-■»■■»■•*- 

-1^ -S >^ i^-  "  -  -  -  -r  -r  -mr  -m: 


IB 


-fs- 


s^ 


I 


-fir 


Place  the  left  hand  over  b,  C,  d,  e,  f ;  the  right  hand  an  octave  higher. 
<^ '^'  Kind  Words. 


!                                 Ill 

1 

II 

1 

lO 

^ 

II 

1 

III 

iV^'iv^ 

"^iv'^ 

~^IV 

1 
Kind    hearts 

are 

1 
the 

gar 

1         1 

dens,     - 

VII       ' 

Kind  thoughts  are 

the 

roots,     - 

- 

- 

fc 


w'-*'- 


-i — j=j= 


9ieE 


-J3Z 


3-= 


-d* 


J_J^ 


■^ H- 


-• «- 


*— * 


-&- 


THE   ELEMENTS    OF  MUSIC  AND   PIANO-FORTE   PLAYING. 


19 


III 


IV      IV        III      III 


II         IV         III         II 


J I I L 


VII 

Kind     words         are       the 


bios 


Kind  deeds       are  the 


I       I      1       r 

fruits. 


H + 


d« « 


-0 ^- 


:d=z=^=z=± 


9» ^* g 


2 « m- 


9^= 


-«s- 


In  the  following  piece  there  are  three  counts  between  the  bars.     Place  the  left  hand  over  c,  d,  e,  f ,  g ;  the 
right  an  octave  higher.  ('     "    "i    '«   "^ 

An  Old-Fashioned  Dance. 


I        I        I 


II  111      III       III 


IV     IV    IV 


V    V    V 


IV    IV     IV       III  III    II 


I    I    I 


All e  cry 0. 

-•■■"♦♦       -12. 


mf^E^Ef, 


:± 


^^ 


-#■♦♦-12. 

•m-     ■»•     -»^ 


^=?= 


-!©- 


^  i   *        .a.  .«.         .^   .«.  Berens. 

*-■•■■»■  Hg-  ♦  ■•■    ♦•    -€•    -iS^* 


t=r=t: 


=f=^F- 


a=BZi»; 


t=t: 


-m-^-0- 


:^z: 


W-=^ 


-'— •+S-» 


liiir* 


#  j^^ 


S?^ 


|j^- 


-*- 


II     II     II 


III     III     III 


II    III    III        IV    IV     IV        IV    IV    IV 


IV  IV  III        II     II     II         II     II     II 


i— ■— C— tn  ?f-t±:  tr-ti  i — I F—  -r— t-Tit-E: 


?z=d:=d=j= 


-•— j^- 


^S-^3=3ir^ 


:q=1: 


=^: 


^:f=^i 


•*-^- 


--^, 


-m B — ill — 


=t=5F 


>-*■ 


-fi*— 


i^?^ 


i*^^ 


'     1     ' 

if 

"7l    11 

III  III  III 

ivTTv  IV 

V    V    V 

IvTv     IV 

III  III  II      C^\'~^\ 

1     1     1 

1 

\ 

^  -  ♦     ♦    ♦  .(2.  H«. 


2^— P— ^ 


i!_^_»: 


n=t:=t 


^=i^= 


^^ — * — •- 


=i=^p= 


-1©- 


lazJzt 


5-  ^^^ff'' 


t5^  ■#■ 


=r=^«^ 


^± 


■#■  ■♦  .5- 


-t9r. 


irz^ 


niJ — « — • — 0 — I 0^ 


20 


THE  SYNTHETIC  METHOD   FOR    THE  PIANV-FORTE. 


XI.    MARCHING. 


The  student  should  be  seated  with  his  right  side  next 
to  the  clavier,  and  the  right  hand  and  arm  over  the 
clavier,  at  right  angles  to  the  digitals,  in  such  a  position 
that  when  the  curved  middle  finger  stands  wpon  twice- 


lined  C,  the  arm  and  wrist  will  hang  in  a  free,  uncon- 
strained manner  from  the  shoulder. 

Then  walk  down   the  two  octave  scale  to  small  c, 
"vrith  the  third  and  second  fingers  alternately,  deliber- 


ately lifting  each  finger,  in  order  that  it  may  descend 
upon  the  digital  with  force  and  firmness.  In  return- 
ing up  the  scale,  care  must  be  taken  that  the  tones 
connect.  Then  sit  with  the  left  side  next  to  the  clavier, 
and  march  with  the  left  hand  from  small  c  up  two 
octaves  and  back. 

Have  you  ever  seen  the  kind  of  scales  used  by  drug- 
gists for  weighing  medicine  ?  Do  you  remember  how 
one  side  comes  up  when  the  other  side  goes  down  ? 
That  is  the  way  fingers  must  go.  Two  fingers  must 
not  remain  on  the  digitals  at  the  same  time  when  play- 
ing single  tones. 


3 

and 

2 

4 

and 

3 

3 

4 

4 

2 

3 

5 

4 

5 

2 

3 

5 

4 

2 

4 

5 

3 

o 

5 

5 

2 

31 


and 


I] 


and 


Both  4  and  3  play  together  on  the  same  digital. 


Throughout  the  entire  practice  of  marching,  the  elbow  must  remain  where  the  sleeve  can  touch  the  name-hoard  of  the  piano. 


XII.    TRIADS. 


Do  you  know  any  one  who  has  a  bicycle  ?  or  a  tri- 
cycle ?  What  is  the  difference  between  a  bicycle  and  a 
tricycle  ?  Have  you  ever  seen  a  triangle,  or  a  tripod  ? 
T-r-i  means  three. 

The  first  thing  you  are  to  learn  about  in  music  is 
the  Triad. 


( 


i)  C    E    G 


(ii) 


Name  the  letters,  and  play  the  notes  of  the 
triad  ofc:e:G:d:c:f:A:c:E:g:B: 
d  :  f.  Name  the  position  on  the  staff  of  the 
triad  of  c  :  g  :  F  :  etc. 


If  you  place  your  right  hand  so  that  the  fingers  cover 
five  successive  digitals,  and  then  press  down  the  thumb, 
the  middle  finger,  and  little  finger,  you  will  have  a 
Triad.     A  Triad  is  named  after  its  chief  tone. 

Every  letter  may  be  the  foundation  of  a  triad ;  for 
instance :  — 


(iii)     Jii  (jT        13 

< V,  G   B    D 

(vii)  B    D 


D 


F 
F 


A 


(iv)  F    A 
(vi)  A 


c 
c 


E 


THE  ELEMENTS   OF  MUSIC  AND  PIANO-FORTE  PLAYING. 


21 


As  there  is  a  triad  of  C  in  each  octave,  we  must  learn 
how  to  write  the  different  triads  according  to  pitch. 


M 


U 


M 


U  L 

3 


Play  the  triad  of  great  C.     On  the  staff  it  looks  like 


this  - 
M 


U 


s> 

-r9- 

c 


E 


B 


The  first  letter  of  the  triad  is  the  lowest,  so  we  shall  I       To  remember :  Triads  are  written  on  three  suc- 
mark  it  L ;  the  highest  letter  we  shall  call  Ujiper,  and     cessive  lines,  or  in  three  successive  spaces. 
mark  it  U  ;  and  the  middle  letter  will  be  marked  M.  Write  the  triads  in  the  MS.  Music  Book,  Part  I. 

Write  the  triads  of  the  letters  indicated. 


XIII.    SEE-SAW. 


Hook  your  fingers,  and  place  the  third  and  second  of 
the  left  hand  over  c  and  d.  You  must  have  played 
see-saw  many  times,  and  this  exercise  is  a  finger  see- 
saw, and  you  must  try  to  lift  your  hooked  fingers  away 


from  the  digitals  just  as  evenly  and  slowly  as  the  ends 
of  the  see-saw  go  up  and  down.  Repeat  the  letters 
four  times  with  the  left  hand,  and  then  take  uj5  e  d 
with  the  right  hand  in  the  same  way,  and  so  on. 


Left  H.ind. 

cd|cd|cd|cd 

e  f  I 

g  a  I 

b  c  I 

Now  the  fingers  follow  each   other  in  the  opposite 
order,  2,  3  — 


Right  Hand. 

ed|ed|ed|ed 

gf  I 
b  a  I 

d  c  I 


Left  Hand. 

dc|dc|dc|dc 
b  a  I 

gf  I 
e  d  I 


ElfiHT    H.iND. 

bc|bc|bc|bc 
g  a  I 

e  f  I 
c  d  I 


Go  over  the  same  notes  with  the  54  :   21 :   43  :   31 : 
42:  53:  41:  52. 


Kefeebnce  fob  Teachek. 

As 

soon  as  the  notes  are  familiar 

3        3 

repeat  each  measure  twice. 

O" 

:J_:i    i— ^    1    i    1 

p*^     J-J--    J- 

"•^1 

L 

*     t     '     '■      '    c    ^ 

1 

-i 1 h-— ^ 1 1 1 

\zz 

1 

:k      2      :i      2 

u 

,r.  J  J  .n  J  J  ^,  ^  .  ^  .  *  .„.^  ^^jr^ 

ijij 

t:^^f    bf    F=^    t=?    F-^ 

Lj 1 j 1 j 1 1 

2 2 


R. 


I    I    i 


1      I 


R 


PpE^^^^^E^BEp^ ^iEB^-ES^^-^^^^EE^=^*=^ 


-^— *- 


»— 0—0— f—0— 0—^—0- 


:t— c: 


z::-l=n- 


::i=j=q=d; 


^-•-|^-*-|^   *   m—' 


iH 


Teach  the  following  "shakes  for  alternate  hands"  by  verbal  explanation. 


22 


THE  SYNTHETIC  METHOD  FOR   THE  PIANO-FORTE. 


Shakes  for  Alternate  Haitds. 


L.  H.     8  pairs. 


^mg0~f •,*,•,  a  gr*  ,  » 


L.  H. 


E.  H. 


-^^^+-    K.  H. 


•---•— a  •---•^--•---•— --•-»-•- 


3=r"*=H=»rrqizp=sipzpL^=ii: 


L.  H. 


L. 


L.     SIX  pairs. 


I — >~-d — I- 


f-g-f-jt: 


3    3 


i*^**:?^^'^:?^*^ 


h.^M..^M. 


-^E^% 


I'-^^-i— ^— ^^i 


i=f=pr- 


-1 — F-l — ^- 


*-^*    »-*#-*    *-*-i^-*-^ 


L.  four  pairs.  r. 


L.^^^A 


i¥^ 


— ■ — M ' — 


:^- 


^  *  w  *— — ' 


^^^^^^^^ 


'^%] 


R. 


i^-ttit^  tt-tf:  R. 


-•---•- 


»-s— T- 


■'— — I- 


■^ — ^p — ^- 


»*    * 


if=#: 


L.  three  pairs.         e. 


e!feEE^EE^ 


&t^,=^5=:K: 


J — g — g- 


L.*-^  .#.A  ♦-«■    .   R- 


H*-#-    -^-«u    ^* 


-•— i   •— -    •- 


-•^^-#      i^#- 


:^c=^: 


f=?=?=a=f=E 


=^=^ 


L. 


^iB] 


E.  L.  two  pairs,     r.  l. 


E. 


^■fi   fLt-fL 


^^-^^i^'^ 


-4-»-^-9 


:f^ 


^*  *  * 


•—m—p- 


znzrzzf 


E.  L. 


-#-.-• 


#"'"» 


-■ — ^-* — •-■ 


l^li 


R. 

L.  one  pair.         .#-A 


t  tt  Bzi  [ltog=?Z^ 


^* 


==3: 


repeat  ]  2  times. 


^_^_ 


11^1 


THE  ELEMENTS   OF  MUSIC  AND  PIANO-FORTE  PLAYING. 


23 


XIV.    TRIAD  CHANGES. 

Write  out  the  tweBty-four  changes  of  the  triad  of  I  will   be    better  to  make    lilack  notes  like  these  given 
C.  according   to    the  letter   given  over  the  staff.      It  |  in  the  first  group.     See  MS.  Music  Book,  Part  I. 


LMU  LUMUMLMLU  MULULM 

1  2  3  4  6  6 


0 

• 

0 


LUMU         LMUM         IIMLM        LULM         LMLU  MUML 

7  8  9  10  U  12 


^A» 

0            0 

9- 

0 
0 

1 

ULUM         ULML  MLMU         MLUL        UMUL         MULU 

13  14  15  16  17  18 


=9^ 


M 
L 


U 


U 
M 


M 


U  U 

L  L 


M 


U 
M 


U 


M 
L 


19 

20 

21 

22 

23 

24 

l"*' 

0 

9- 

0 

0 

These  Triad  changes  may  be  practised  to  great  ad- 
vantage by  making  tour  repetitions  of  each  group  and 
counting  as  if  there  were  four  triplets  in  a  quadruple 
measure. 

lis  LLJ    llJ   lis 

1,  and  de:  2,  and  de:         3,  and  de:         4,  and  de. 

Or,  as  if  there  were  four  groups  of  sixteenths. 

P  0  0  P      P  P  0  P      P  P  •  P      P  P  P  P 


I    1,  and  de;      ^    2,  and  d€:      o    3,  and  de;      4    4,  and  de. 


These  forms  of  broken  chords  are  called  an  Alberti 
bass,  and  they  should  be  played  legatissimo ;  i.e.  hold 
each  chord  tone  down  until  all  the  tones  have  been 
sounded. 

There  are  eleven  triad  shapes  that  the  hand  can 
assume  over  the  clavier ;  all  the  other  positions  are 
duplicates  of  these.  Practise  the  triad  changes  over 
each  triad  given  below  :  — 

cEbg:  bDfj:  BdtFs:  BfedF:  bfeDlJf:  AcjE: 
AlJcEb:     gsBdj:     FsajtCj:     elJGfebfe. 


24 


THE  SYNTHETIC  METHOD   FOR    THE   PIANO-FORTE. 


XV.    STAFF   DIVISION. 


Have  you  ever  been  to  market,  or  to  a  grocery,  and 
watched  the  dealer  sell  jjotatoes,  or  peas,  or  fruit  ? 
What  did  he  put  the  vegetables  or  fruit  into  when  you 
asked  for  a  bushel,  or  a  peck,  or  a  quart  of  them  ? 

Music  has  measures,  too.  Only  music  measures  hold 
notes. 

Measures  are  formed  by  upright  lines  that  are  called 
Bars.      These    Bars   cut   the    staff    into    equal    parts. 


Each  part  may  contain  one  or  more  notes  which  sound 
a  given  length  of  time.  When  bars  are  drawn  through 
two  or  more  staves,  they  form  a  Score. 

Two  bars,  drawn  close  together,  are  called  a  Double 
Bar.  a  double  bar  shows  where  the  whole,  or  a  chief 
part  of  a  piece  ends. 

To  remember :  Measure,  Bar,  Double  Bar,  Score. 


Bar. 


Bar. 


Double  Bar. 


Double  Bar. 


Score. 


Measure. 

Measure. 

Measure. 

Pleasure, 

XVI.    SIGNS   OF   DURATION. 


Have  you  ever  felt  your  pulse  ?  The  little  throb  in 
your  wrist  is  caused  by  the  beating  of  your  heart,  which 
pumps  the  blood  all  over  your  body.  In  your  wrist 
there  is  a  place  where  you  can  easily  feel  the  beats  of 
the  blood,  which  follow  each  other  like  the  ticking  of  a 
watch.  In  music  the  measure  notes  are  called  Beats, 
because  they  come  one  after  the  other  like  the  throbs 
of  a  pulse.  If  there  are  two  beats  in  a  measure,  we 
count  one  to  the  first,  and  two  to  the  second.  If  there 
are  three  beats,  we  count  three ;  if  there  are  four,  we 
count  fo2ir. 

How  many  letters  are  there  in  nmsic  ?     There  are  just 


as  many  kinds  of  notes  as  there  are  letters.     To-day 

we  shall  learn  about  three  kinds.     The  largest  kind  of 

note  is  the  Whole  Note.    The 

'^  '     Half  Note  is  white  like  the 

1^ ^ whole  note,  but  it  has  a  line 

I  I  drawn  on  one  side,  called  the 

F  f  f  I*  stem.  The  Quarter  Note  is 
a  black  note,  with  a  stem.  It 
takes  two  half  notes  to  make  the  value  of  one  whole 
note.  It  takes  four  quarter  notes  to  make  the  value  of 
one  whole  note,  and  two  to  make  the  value  of  a  half 
note.     See  MS.  Music  Book,  Part  I. 


XVII.    METRE. 


Metre  is  another  name  for  measure.  In  some  coun- 
tries all  measurements,  either  of  distance  or  of  amount, 
are  called  metres  of  some  kind,  instead  of  feet  and 
inches,  or  pints  and  quarts,  as  with  us. 

In  music.  Metre  is  the  word  used  to  explain  how 
sounds  follow  each  other.  Sounds  differ  in  regard  to 
power  as  well  as  in  pitch.     That  is,  some  sounds  are 


louder  or  softer  than  others,  just  as  some  are  higher  or 
lower  than  others.  The  bar  line  is  drawn  through  the 
staff  to  show  where  the  loudest  sound  is  to  be  found, 
and  we  know  how  to  find  it,  because  the  bar  line  always 
stands  hefore  the  strongest  beat  in  a  measure. 

How  loud  sounds  and  soft  sounds  are  related  to  each 
other  determines  the  Metre  of  music. 


THE  ELEMENTS   OF  MUSIC  AND  PIANO-FOBTE  PLAYING. 


The  loud  sound  is  said  to  be  Accented.  The  sign  for 
Accent  is  >,  or  A. 

To  illustrate  Accent,  let  us  draw  a  bar  line  before  the 

following  two-syllable  words :     U-tah.     Ver-    niont. 

In  words  of  three  syllables  the  Accent  may  come  as 
>  >  > 

follows :     Flor-i-da.     0-    hi-o.     Mon-te-    rey. 

Utah  and  Vermont  give  the  two  kinds  of  Double 
Time  or  Metre. 

Florida,  Ohio,  Monterey,  give  the  accent  of  the  three 
kinds  of  Triple  Metre  or  Tune.     Double  and  triple 


time  are  called  Simple  Time.  All  other  kinds  of  time 
are  made  up  (compounded)  of  two  or  more  twos  or 
threes.  For  instance, /oijr  is  a  compound  of  two  twos 
(ll-ll).  Six  may  be  two  threes  (Ill-Ill)  or  three  twos 
(ll-ll-ll).  There  are  four  kinds  of  Quadruple  Metre, 
and  because  there  are  two  twos  in  it,  there  must  be  two 
accents,  a  large  one  upon  the  first  beat,  and  a  smaller 
one  upon  the  third.  In  words  of  four  syllables  the 
accents  come  as  follows  :  — 


Ter-ri-to-ry.  Yo-    seni-i-te.  0-ri-  no-co.  Fer-nan-do 


Po, 
or,  United  |  States. 


XVIII.    TIME  SIGNATURES. 


Let  us  examine  the  following  measures  :  — 
In  front  of  the  clef  there  are  two  figures,  \.  These 
figures  are  called  the  Time  Signature,  or  Time  Sign. 
The  upper  figure  tells  how  many  beats  each  measure 
contains,  and  the  lower  figure  tells  what  kind  of  note 
each  beat  is  worth.  Therefore,  *  means  that  there  are 
four  quarter  notes  (or  their  value)  in  each  measure. 
Is  4  simple  or  compound  metre  ? 


4  is  called  Quadruple  or  Common  Time. 

A  horse  or  a  dog  is  called  a  qiiadriqxd,  because  it  has 
four  feet.  A  quadrille  is  so  called  because  it  takes  four 
couples  to  dance  it.  Always  when  you  see  the  syllable 
quad  at  the  beginning  of  a  word,  it  means  four.  Com- 
mon time  is  also  marked  0- 

Mark  the  counts  and  explain  the  time. 


^ 


Common  Time. 


SE^i 


11 


w 


±_ 


p 


Triple  Time. 


Compound  Triple. 


m 


m 


II 


When  the  ^  has  a  vertical  stroke  through  it,  the  beat 
is  worth  a  half  note. 

Suppose  some  one  gave  you  a  dollar,  and  you  were  to 
spend  that  dollar  for  a  book,  or  some  other  thing  you 
might  like  to  have,  would  it  make  any  difference 
whether  your  dollar  were  in  one  gold  piece  or  a  bill ; 
or  whether  you  paid  the  storekeeper  two  half-dollars, 
or  four  quarter-dollars  ?  He  would  not  care  in  the 
least,  as  long  as  he  received  enough  money  to  make  the 
value  of  a  dollar. 


In  the  Same  way,  it  does  not  matter  at  all  whether 
there  are  four  quarter  notes,  or  two  half  notes,  or  one 
whole  note  in  a  quadruple  measure,  as  long  as  there 
are  notes  enough  to  make  the  value  of  four  quarter 
notes. 

Where  there  is  one  whole  note  in  the  measure,  we 
count  one  to  the  first  beat  when  the  note  is  sounded, 
and  hold  the  finger  down  while  we  count  the  second, 
third,  and  fotirth  beats. 


26 


THE  SYNTHETIC  METHOD  FOR    THE  PIANO-FORTE. 


XIX.    RHYTHM. 


Metre  is  determined  by  the  number  of  beats  in  a 
measure,  and  the  metre  of  a  piece  does  uot  alter  from 
beginning  to  end.  But  the  kinds  of  notes  in  the 
measure,  and  the  order  of  them,  change  constantly. 
Rhythm  is  "  the  small  change  of  metre."  That  means 
exactly  the  same  thing  as  what  we  read  in  the  last 
paragraph  about  the  dollar.  There  are  eight  different 
rhythms  by  which  we  can  fill  a  %  measure  with  whole, 
half,  or  quarter  notes.  Sometimes  it  is  necessary  to 
hold  a  note  for  three  counts.  There  is  no  single  sign 
for  a  three  beat  sound.     But  there  are  two  ways  to 


write  a  measure  where  we  need  that  kind  of  rhythm, — 
first,  by  writing  a  half  note   and  two   quarters,  and 

/I  I 

tying  one  of  the  quarters  to  the  half  note  f^.,^ ^ 

so  that  it  cannot  be  sounded  again  (for  tied  notes  are 
always  held  down) ;  and  the  other  way  is,  to  write  a 
little  dot  on  the  right  side  of  the  half  note. 

A  dot   is  worth   half  as  much  as  the  note  standing 


hefore  it  [^ 


■2  3 


1  2 

— tS 


The  First  Eight  Khythms  in  Quadruple  Metre. 
3  4  5  6  7  OR 

J     J    N     I   J     1 1    I       I     1 1  I     III  J   J       11 


-• — « — |-^-i- 


^}U-X 


-i-# — G>- 


I 


See  Table  of  Comparative  Khythms,  Miscellaneous  Techniques. 


XX.    PERIODS  AND  PHRASES. 


Like  poetry,  music  has  short  sentences  and  long  ones, 
and  lines  and  rhymes.  In  your  school  reader  you  have 
learned  that  a  sentence  ends  with  a  full  stop  or  period. 
So  does  our  music  sentence.  A  music  period  is  like  a 
4-line  stanza  in  poetry  ;  that  is,  it  contains  two  parts, 
more  or  less  like  each  other,  called  Phrases.  In  poetry 
the  last  sj'llaliles  of  the  lines  rhyme ;  for  instance,  in 
the  Mother  Goose  Melody  — 


"  Shoe  the  horse,  and  shoe  the  mare ; 
But  let  the  little  colt  go  bare." 

The  words  mare  and  hare  sound  alike.  But  in  music  it 
is  the  rhythms  that  rhyme,  and  generally  the  last 
rhythms  of  the  phrases  are  not  alike.  In  No.  1  the 
phrases  are  made  out  of  three  measures  of  rhythm  4 
and  one  measure  of  rhythm  1.  and  they  rhyme  exactly. 
In  No.  2,  mark  the  rhythms  that  rhyme,  and  say  where 
the  phrases  differ.     See  MS.  Music  Book,  Part  I. 


9^^fe 


-<9- 


--■^-iz 


-&- 


=1=q=i 


-(S- 


^ 


»—n- 


THE  ELEMENTS   OF  MUSIC  AND  PIANO-FORTE  PLAYING. 


27 


Number  the  rhythms,  and  point  out  those  that  rhyme. 


3 

^ 

^ 

~ 

~^ 

/■ 

V 

1              '               1 

, 

1 

J 

■ 

i 

fetS^^— H— ^ 

T 

— *— 

-4- 

d ^— ^- 

-H ^— 

1 

— «!- 

-^—^ — ^ 

-1 — 

^- 

-+ 

0— 

# 

<^ 

— •- 

• 

-&-- 

^ 

• 
— • — 

• 

— #— 

-zi 

s — 

__• 

— •- 

K? 

#- 

« 

— #— 

— 1 — 

=323 

-^ — . — 

fi^ 

— •— 
1 

P 

-• — = 

--=n • =— 

K 

>t^^ 

■^ 

Ft     ' — r^ 

T— 

m 

f~ 

-f— F- 

1 ^— r 

-h- 

—&~ 

_(2 

-^- 

— ^- 

-G> — 

XXI.    CHROMATIC   SCALE. 

A  Scale  Walk  over  All  the  Black  and  White  Digitals. 


We  shall  have  to  use  both  white  and  black  digitals 
by-and-bye,  so  we  can  begin  to  play  on  them  now. 
Start  with  hoih  thumbs  upon  once-lined  d.     Put  the 


First  fingering, 
Digitals  : 


second    finger   on   the  black   digital,    then  the  thumb 
again,  and  so  on  in  the  following  order  :  — 


1 

2 

1 

2 

3 

1 

9 

3 

4 

1 

2 

3 

1 

D 

w 

E 

F 

■ 

G 

M 

A 

B 

B 

C 

■ 

D 

One  Octave. 

1 

2 

1 

2 

3 

1 

2 

1 

2 

1 

2 

3 

1 
1 

1 

3 

1 

2 

3 

1 

3 

1 

3 

1 

2 

3 

Second  fingering, 
Third        " 


This  scale  is  called  the  Chromatic  Scale,  and  in  each  way  of  fingering  it,  the  right  thumb  goes  upon  e  and  b, 
and  the  left  thumb  goes  upon  f  and  C. 


Keference  for  Teachers- 
3d       13  12313131 

2d       12  12312121 


231312313  1 

231212312  1 


1st     1 


--\* 


^=t=t 


4^-f- 


12  3 

12  3 


3       3 


3       4 


3       3 


_f_if-4-f-— --r>/ 


^^■F 


-l^mr^ 


=«^i 


4=i 


^±fc:M=|J=^±^i=^J=^i 


3d       4        3         2         1  3         1  3         13       2 

OR 

2d       13         2         1         2         1         2  132 


:t=t=t=pt:=f:=?ti^qt--|?: 


13        13         2 
12        13         2 


1       3  1 

12         1 


3        13         2 
2        13         2 


1        3       1 
1        2       1 


-h- 


--^r=^\ 


:t=t=t=- 


V* 


^- 


E^ia 


l«=i|«t 


13      3 


'-^^E^^t^^EE^:^ 


-:i=iXT- 


1      4 


:F=t=t: 


13        3        13      1 

—I 1 1 — I--  ■ 


28 


THE   SYNTHETIC  METHOD   FOR    THE   PIANO-FORTE. 


XXII.    SECTIONS  AND  MOTIVES. 


In  the  same  way  that  periods  divide  into  phrases, 
phrases  divide  in  Sections  of  two  measures  each. 
Section  means  "  a  cutting."  Sections  are  like  the  parts 
of  a  sentence  tliat  tlie  comma  makes  in  our  school 
reader.  So  a  period  may  have  two  phrases  and  four 
sections. 

Last  of  all,  we  have  the  Motive,  which  is  the  smallest 
part  of  the  period,  and  in  the  section  there  may  be  two 
motives.     Motives  are  like  words. 

A  bar  drawn  through  both  staves  shows  wliere  tlie 
strong  accent  comes. 

A  little  bar  (vertical  stroke)  drawn  between  two  lines 


HI 


serves  to  show  the  limits  of  groups  of  tones  belong- 
ing together.  These  little  tone  groups  are  called 
Motives. 

All  the  notes  following  a  little  bar  lean  towards  the 
next  accented  note.  A  little  bar  is  called  a  Reading 
Mark. 

These  verses  are  marked  the  same  as  No.  4. 


Little  drop  i  of  |  dew, 

Like  a  gem  i  you  |  are,; 
I  believe  i  that  |  you 

Must  have  been  i  a  |  star. 

When  the  day  i  is  |  bright, 

On  the  grass  i  you  |  lie : 
Tell  me  then,  i  at  |  night. 

Are  you  in  i  the  |  sky  ? 

Fkank  Dempster  Sherman. 

Do  you  see  how  easily  the  lines  divide  into  two  parts 
at  the  little  bar?  When  you  are  first  2^ractising  apiece, 
draw  your  hand  away  from  the  clavier  at  each  little 
bar ;  but  after  you  know  it  perfectly,  play  it  without 
any  break,  except  at  the  end  of  the  curved  line. 

Some  time,  when  you  go  by  a  fish  market,  watch  the 
dealer  lift  a  fish  from  the  marble  slab  upon  which  it 
lies.  He  will  probably  take  it  up  by  the  gills,  and, 
although  it  is  dead,  it  will  cling  to  the  marble,  down  to 
the  very  tip  of  its  tail,  as  long  as  there  is  any  chance 
to  do  so.  When  you  draw  your  hand  away  from  the 
clavier,  let  the  finger  cling  to  the  digital,  just  as  the 
fish  clings  to  the  marble.  Always  draw  your  hand 
away  in  this  fashion  at  the  end  of  a  curved  line  (Slur). 


[Note.  —  "  Whoever  imagines  that  he  should  feel  and  express  a  sub-division  wherever  he  meets  with  a  reading  mark,  will  assuredly 
have  much  trouble.  .  .  .  The  reading  mark  calls  for  neither  a  lift  nor  a  halt ;  its  primary  purpose  is,  to  perform  an  office  similar  to 
that  of  the  blank  spaces  left  between  the  separate  words  in  letterpress,  namely,  to  facilitate  a  rapid  apprehension  of  the  smallest 
members  of  a  sentence  (the  words)  ;  its  significance  may  really  sometimes  be  equivalent  to  the  division  of  a  word  into  separate 
syllables  (by  hyphens)  —  there  are  cases  in  which  such  a  primer  style  must  be  desirable  by  way  of  exception.  But  as  little  as  one, 
who,  being  able  to  read  fluently,  would  be  induced  through  the  separation  of  the  printed  words  to  introduce  pauses  between  the  same 
(between  article  and  substantive  for  instance),  just  as  little  shall  any  one  be  prompted  by  the  reading  marks  to  separate  the  motives 
and  sub-motives,  to  which  these  marks  are  attached  as  explanatory  annotations."  —  Guide  to  the  Art  of  Phrasing,  Dr.  Hugo 
RiEMANN  and  Dr.  Carl  Fuciis.] 


m 


H^^^aE 


\^^ 


A~'~ 


--tJ^± 


153: 


tS^ 


SZT- 


=l=t 


ISI 


IS." 


X 


-wzr 


When  both  hands  play  the  same  letters,  they  are  said 
to  play  in  Unison.  Uni  means  one,  and  &on  means 
sound. 


What  triad  is  used  in  No.  5?     Count  the  measures, 
and  find  the  rhymes  before  beginning  to  play. 


5 

-., 

-6 — a 1 ^ ^-^ =- 

1 1 

-^     ■ 

1 

■^ 

/ 

TC"*-^ — »T— ^- 

'5       ^ 

1-"- 

rj.     • 

— m — 

— 1 — 

c       J 

• 

[ 

m 

-^    -r_ 

• 

— *— 

l  f^ 



1 

U\  ft      *       1         1 

1        ' 

r  "  ■'^  ^  1 ' 

;         ry  \ 

1        *      i r 

r        C/    \  T 

1       1    I  I 

S^i — 

1 

xri'x                  ' 

1        1 

1 

1 

1^ 

1             ' 

) 

U-tah    Ver- 

mont 

0- 

hi  - 

0       Yo- 

se 

mi 

-  te 

Flor-i  - 

da 

0 

-hi  - 

0        0- 

hi  - 

0 

Ver- 

mont 

J 

-^ 

■ 

r 

/ 

i^^ 1 p5- 

1 L 

P       "^ ^ 

J       -1 

— 1— 

~-g- 

-J ! a- 

-J 

• 

1 1- 

\ 

^1--:;  '^r- 

'^^^^  '  r 

_^J_«_ 

9 

Zsi-L 

_*_;_ 

^ 

tS 

^ 

-^-^r 

* 

-t- 

^ 

O 

THE  ELEMENTS   OF  MUSIC  AND  PIANO-FORTE  PLAYING. 


29 


XXIII.    COUNTERPOINT. 


There  was  once  a  time  when  notes  were  called  Points. 
When  two  melodies  (tunes)  were  played  at  once,  the 
second  melody  was  called  a  Counterpoint.  Counter 
means  opposite  or  against.  Counterpoint  means  opposite 
or  contrasting  points. 


What  triad  is  used  in  No.  6  ?  What  kind  of  time  is 
it  written  in  ?  In  Nos.  4  and  5  the  letters  are  alike. 
In  No.  6  the  letters  are  different,  but  the  fingering 
alike  in  both  hands. 


XXIV.     SCALE    WALKS. 

Alternate  Thumb  and  Finger. 


[Note.  —  These  scales  to  be  taken  one  at  a  time  in  connection  with  the  following  pieces,  rather  than  to  complete  them  at  once.] 


As  your  fingers  learned  how  to  stand  comfortably 
over  the  thumb  in  the  black  and  white  scale,  let  us  try 
what  it  would  be  like  to  walk  upon  the  white  digitals 

from  e  to  e  and  back  again,  with  the  right  thumb  and 
second  finger  alternately  ;  but  upon  no  account  must 
there  be  any  jerking  of  the  elbow,  or  turning  of  the 
wrist.  When  the  right  hand  is  learned,  try  the  same 
fingering  with  the  left  hand,  journeying  from  c  to  C 
and  back.  As  soon  as  each  hand  is  able  to  keep  its 
shape,  with  a  steady  wrist  (that  is,  with  no  up  and 
down  motion),  learn  to  play  both  together,  starting 
from  the  centre,  and  going  out  to  the  extremes  and 


back  again. 


In  order  that  the  ear  may  have  the  rest 
that  comes  from  a  change  of  the  starting  tones,  it  will 
be  well  to  practise    these  walking    exercises,  starting 


with 


next 


r 


then 


f 


le 


g 


U     1  g 


_  ,  always  completing  the  two  octaves 

c 

from  the  starting-point.  After  1  and  2  have  become 
easy,  take  1  and  3,  later  1  and  4,  finally  1  and  5. 
Then  12.3:  1234:  12.345:  124:  125:  134:  135: 
145  :  1231234,  ending  on  5 ;  also,  45  :  35 :  34  :  345 : 


{The  silent  exchange  fingerings  are  to  be  used  in  connection  with  the  scale  given  below.) 


30 


THE  SYNTHETIC  METHOD  FOB   THE  PIANO-FORTE. 


Write  out  the  scale-walks  in  I  time  exactly  as  you  play  it.     The  fingering  is  written  between  the  staves.     The 
metronome  is  to  be  used,  starting  at  P=  60,  increasing  the  speed  gradually  to  ,   =  152. 
At  this  point  begin  Accelerating  Scale  Practice  (see  Catalogue). 

I  Double  Metre. 


t=t 


¥ 


-• — ^- 

1     2 
U-tah 


Pi"^ 


3     1 
U-tah 


im 


2     3 


•t     1 


2     3 


1     2 


3     4 


5     4 


3     2 


1     3 


2     1 


4     3 


2     1 


3     2 


-|S>~ 


Notice  that  the  reading  mark  comes  at  the  end  of  the  word. 


Triple  Metre. 


-^— * 


Flor-i  -  da. 


s 


^— *- 


hi  -  o. 


r6y. 

-# — 


THE  ELEMENTS   OF  MUSIC  AND  PIANO-FORTE  FLAYING. 


31 


QuADEUPLE  Metres. 


Territory. 


i 


Yo- 


semite. 


glE 


i 


Ori- 


9!e 


M 


^ 


Fernando 


Po. 


ilEE 


It  is  suggested  that  these  scale  walks  be  practised 
during  the  entire  grade,  and  as  an  incentive,  the  scale 
fingering  should  be  carried  systematically  through  the 
compounded  rhythms.  Begin  with  the  metronome 
at  J  =  80,  gradually  sliding  the  weight  down,  notch 
by  notch,  until  J=  120  is  reached,  when  two  quarters 


should  be  played  to  each  metronome  click  at  60=  L 
thus  giving  the  child  an  acute  sense  of  proportion  — 
the  speed  to  be  increased  indefinitely.  (At  this  point 
the  Preparatory  Studies  for  parallel  scale  fingering 
may  be  introduced.) 


■•^"^-^^^"^*  •" 


Continue  in  the  same  way,  up  and  down,  until  the 
one  accent  comes  upon  the  starting  note  again. 

Then  make  combinations  of  all  eight  rhythms  on  p.  26 ; 


2  and  4:  2  +  5:  2  +  6:  2  +  7:  2  +  8:  3  +  4:  3  +  5:  3  +  6: 

3  +  7:    3  +  8:   4  +  5:   4  +  6:    4  +  7:   4  +  8:    5  +  6:  5  +  7: 
5+8:   6  +  7:   6  +  8:   7  +  8. 


32 


THE  SYNTHETIC  METHOD  FOR   THE  PIANO-FORTE. 


XXV.    A  LIST  OF  METRONOME  GRADES. 

()See  p.  8  of  the  Introduction.) 


One  Tone  to  One  Click. 

Two  Tones  to  One  Click. 

Three  Tones  to  One  Click. 

Four  Tones  to  One  Click, 

J  =50 
52 

J=  100  or  J  =50 
104             52 

1=150=    1  =  50 
52 

J=200     ^=50 
52 

54 

108             54 

54 

54 

56 

112             56 

56 

56 

58 

116             58 

58 

58 

60 

120             60 

60 

60 

63 

126             63 

63 

63 

66 

132             66 

66 

66 

69 

138             69 

69 

69 

72 

144             72 

72 

72 

76 

152             76 

76 

76 

80 

160             80 

80 

80 

84 

168             84 

84 

84 

88 

176             88 

88 

88 

92 

184             92 

92 

92 

96 

192              96 

96 

96 

100 

200           100 

100 

100 

[Note.  —  In  this  grade  152  quarter  notes  will  be  the  maximum  of  speed  required.     That  will  enable  the  pupil  to  play  the  scale 

J     1 
walks  with  the  metronome  at     or     V    =  50,  and  to  pass  from  simple  to  compound  rhythm  with  ease.      But  as  many  pupils  can 

I        J  I 

play  accurately  much  faster  than  that,  the  grading  is  given  to  100  =  c>,  400  =  J-] 


XXVI.    TRIAD  MEMBERS. 


I  You  remember  that  any  letter  may  be  the  name  tone 
of  a  triad  ;  that  each  letter  is  contained  in  three  triads ; 
and  that  from  the  lowest  to  the  highest  there  are  five 
letters. 

A  triad  consists  of  a  first  note,  a  third,  and  a  fifth. 

In  speaking  of  a  letter  that  belongs  in  two  or  three 
different  triads,  it  is  called  the  Prime,  when  it  is  i.  p. 

It  is  called  the  Tierce  when  it  is  iii.  tc. 

It  is  called  the  Quint  when  it  is  v.  q. 


Fill  out  the  triads,  so  that  the  note  printed  is  prime,  tierce,  or  quint,  as  the  numbers  show.     Write  the  letters 
one  over  the  other. 


G  (q) 

E    (q) 

E  (tc 

C  (q) 

C  (to 

C  (P) 

A  (q) 

A  (to 

A(P) 

F  (q) 

F  (to 

F  (P) 

D  («) 

D  (to 

D  (P) 

B«i) 

B  (to 

B  (P) 

G(q) 

G  (to 

G  (P) 

E  (tc) 

E(P) 

C(P) 

gf 


-yymr 


~y5yz 


-««- 


-G\\\- 


-G/y 


risr: 


I22Sr: 


:22vi 


-iSini- 


-(©V 


-&l- 


-iSMI- 


-©T- 


Tgr- 


~grir~ 


Z22VI 


-(©I- 


-Gva- 


-Sfv- 


I 


THE  ELEMENTS   OF  MUSIC  AND  PIANO-FOBTE  PLATING. 


33 


XXVII.    TRIAD  TONES   FOR  ALTERNATE  HANDS. 


In  the  following  exercise,  the  left  hand  is  to  play  the 
notes  with  the  stems  turned  down,  the  right  hand  those 
with  the  stems  turned  up.  Going  up,  the  left  hand 
passes  over  the  right.     Coming  down,  the  right  hand 


crosses  the  left.     Play  as  softly  as  possible,  and  draw 
the  fingers  away  from  the  digitals  as  if  you  were  wiping 
them  off.     (Use,  at  discretion,  all  shades  of  touch.) 
Repeat,  using  each  finger. 


Tonic  triad. 


J-. 


_^Y_ 


3 


lizni 


-«ui- 

I 

3 


ZlSEZX 


I ^ir~ 


iii 


3 


-3— 


HIZ 


-«v- 


■#•1 


3 


linjc 


I^ri 


[Note.  —  This  is  to  be  transposed  into  all  the  major  and  minor  triads.  At  first,  C,  d,  e,  F,  G,  a,  can  be  learned,  and  as  soon  as 
"major  and  minor"  are  explained,  tlie  other  triads  are  to  be  studied.  It  is  given  more  for  mental,  than  for  technical  exercise, 
although  a  certain  facility  in  clavier-measureraeut  results  from  its  study,  which  is  not  to  be  despised.  It  is  well  to  insist  upon  the 
naming  of  the  triad  tones  before  beginning  to  play.] 


XXVIII.    THE  QUINT  SUCCESSION. 


The  shortest  distance  between  two  sounds  on  a  piano- 
forte is  called  a  Half  Step.  From  any  white  digital 
to  the  next  digital  touching  it  is  a  half  step.  From  E 
to  F,  and  from  B  to  C,  are  the  white  half  steps.  From 
any  white  digital  to  the  next  black  one  touching  it  is  a 
half  step. 

How  many  half  steps  are  there  from  C  to  D  ?  from  C 
to  E  ?  from  C  to  F  ?  from  C  to  G  ?  There  are  always 
.".even  half  steps  from  the  prime  to  the  quint  of  a  triad. 

Have  you  ever  thought  how  many  facts  and  stories 
are  connected  with  the  number  seven  ?  There  are  the 
seven  primary  tones  in  the  octave  ;  the  seven  half  steps 
in  the  quint ;  the  seven  color  rays  in  the  rainbow  ;  the 
seven  days  of  the  week  ;  the  seven  times  seven  years  to 
end  with  a  jubilee  (that  was  why  the  English  people 


celebrated  the  Queen's  jubilee,  in  1887,  after  she  had 
reigned  fifty  years; ;  the  seven  planets  ;  the  seven  stars 
of  the  Pleiades  ;  the  clean  beasts  that  went  into  Noah's 
ark  by  sevens ;  beside  ever  so  many  other  wonderful 
sevens  mentioned  in  the  Bible. 

Count  the  half  steps  in  the  triad  of  C.  Wliat  is  the 
quint  of  the  triad  of  G  ?  of  D  ?  of  A  ?  of  E  ?  of  B  ? 
The  quint  of  B  must  be  some  kind  of  F.  When  it 
becomes  necessary  to  raise  a  letter  a  half  step,  this 
sign  (J),  called  a  Sharp,  is  written  before  the  note,  u J 
A  sharj)  is  always  played  on  the  digital  touching  ~w~ 
the  right  side  of  the  note  to  he  raised.  The  quint  of  B 
is  F{f.  What  is  the  quint  of  FJf?  of  Cfll?  of  GJf? 
of  D#?  of  Ajf?  EJf  is  played  on  the  digital  of  F. 
What  is  the  quint  of  E  jj  ?     B  Jf  is  played  on  the  digital 


34 


THE  SYNTHETIC  METHOD  FOR    THE  PIANO-FORTE. 


of  C.  That  shows  that  each  of  the  seven  letters  may 
be  raised  a  half  step  by  a  sharp.  The  seven  sharps 
are  — 

12  3  4  5  6  7 

Ffl      C#      Gfi      D}$      A#      ES      B# 

Let  us  count  backwards  from  C  by  seven  half  steps.  C 
is  the  quint  of  what  triad  ?  Count  seven  half  steps 
below  F,  and  we  come  to  another  black  digital.  It 
cannot  be  AJ|,  because  the  triad  of  which  F  is  the 
quint  is  B  of  some  kind.  When  a  letter  is  to  be 
lowered  a  half  step,  this  sign  (1?),  called  a  Flat,  is  ,  | 
written  before  a  note.  A  flat  is  always  the  digital  ^^'^ 
lying  on  the  left  side  of  the  note  to  he  loivered. 

Of  what  triad  is  B?  the  quint?  E!??  Ab?  Di7? 
G  b  ?  C  t?  ?  This  proves  that  every  letter  may  be 
lowered  a  half  step  by  a  flat.     The  seven  flats  are  — 


B\>      E>      Al?      D>      Gb      Ct*      Fb 


If  you  read  the  fiats  backwards,  the  letters  are  the 
same  as  the  sharps.  So  one  order  of  letters  will  answer 
for  sharps  and  flats,  as  well  as  primary  tones.  The 
arrow  points  the  way  to  read  them  for  the  rising  quint 
succession,  and  for  the  falling  quint  succession. 

Rising. 
^> > 


Sharps. 

G        D        A 

Flats. 


B 


-« 


Falling. 

Sound  c  and  its  quint  together  :  d  and  its  qiiint : 
sound  each  of  the  following  letters,  with  its  quint,  in 
the  same  way:  e:  f:  g:  a:  b:  C^:  dJJ:  fjf:  g^:  a{I: 
df  :  ei?:  gl^:  at?:  b^:  eJJ:  f?  :  cjj.  There  are  only 
two  "  black  and  white  "  quints  —  B  J?  and  F,  and  B  and 
Fif.  All  the  rest  are  either  two  white  digitals  or  two 
black  ones. 


Find  the  following  notes  :  — 


W^P- 


J- 


isi 


--P-- 


m 


9&- 


55^^ 


-it^- 


-te- 


i 


4j22I 


?«>- 


■^ 


■^ 


:fesi 


\l<^- 


~-p-- 


--P^ 


-P- 


:tesz 


=S^ 


VG- 


N.B.  —  When  a  letter  having  a  sharp  or  flat  written  before  it  is  repeated  in  the  same  measure,  it  is  not 
necessary  to  write  the  sharp  or  flat  again  until  the  same  note  occurs  in  another  measure. 


Beside  the  primaries,  and  sharps,  and  flats,  there 
are  five  double  sharps  and  five  double  flats,  making,  in 
all,  thirty-one  letters  in  the  Harmonic  Alphabet. 

A  Double  Sharp  (^)  raises  a  note  already  sharped 
another  half-step,  and  it  is  always  played  upon  the 
white  digital  lying  at  the  right  side  of  the  name  digital. 
F'^'  is  played  upon  G,  C^  upon  D,  G^  upon  A,  D^'  upon 
E,  and  A'^'  upon  B. 

A  Double  Flat  (W>)  lowers  a  note  already  flatted 


another  half-step,  and  is  played  upon  the  white  digital 
lying  at  the  left  side  of  the  name  digital.  B  V^  is  played 
upon  A,  Et*!?  upon  D,  A  V?  upon  G,  Dt'l?  upon  C,  and 
(jV?  upon  F. 

Because  all  double  sharps  and  flats  are-j)layed  upon  the 
white  digitals,  there  can  only  be  five  of  each.  B  and  E 
cannot  be  raised  more  than  one  half-step,  nor  can  C  and 
F  be  lowered  more  than  that. 


THE  ELEMENTS   OF  MUSIC  AND  PIANO-FORTE  PLAYING. 


3& 


The  Harmonic  Alphabet. 


Falling. 


Rising. 


GW,  Dt;b,  Afrb,  EbK  B?K  F^,C^,Gb,  D>,  A>,  E^,  B^  F.C.G,  D,  A,  E,  B,  F^.Cft.GJ,  DJ,  Afl,  E;f ,  BJ,  F^,C^,G^,  D«,  A« 

The  Thirty-One  Names  fok  the  Twelve  Digitals. 


db^ 

db 

ebb 

eb 

fb 

g^^ 

abb 

ab 

bb> 

b!7 

ct? 

C 

D    - 

E 

F 

G 

A  ■■ 

B 

^ 

c« 

A^ 

efl 

f« 

g>K 

a-« 

Each  white  digital  may  be  called  by  three  names. 

[Note.  —  The  child  should  be  constantly  drilled  in  the  Harmonic  Alphabet,  until  it  becomes  as  much  a  matter  of  course  as  the 
primary  tones.J 


XXIX.    SEE-SAW  EXERCISES  FOR  BOTH  WHITE  AND  BLACK  DIGITALb. 


The  correct  name  for  the  see-saw  is  Shake.  As  we 
have  learned  to  make  a  slow  shake  smoothly  upon  white 
digitals  only,  we  must  now  learn  how  to  keep  the  hands 
steady,  and  the  tones  even,  while  making  a  shake  upon 
white  and  black  notes.  Begin  with  the  left  three  and 
two  over  C  db,  repeating  them  four  times ;  follow  it  by 
d  and  cjf  with  the  right  three  and  two. 


I 
Left  hand,  c    db 


Right  hand,  d    cjf 

3        2 

e   d# 

3         2 
—  3         2 

abg 


d   eb 

3         2 

a    f 

3        2  

fitg 

Ebferbnce  for  Teachers.     Play  through  with  54 :  21 :  43  :  53  :  42. 

3   3 


Left  hand,  gjf  a 

3         2 

a»b 


3         2 

Right  hand,  bb  a 

3         2 

c   b 


RETURNING. 


2      3 

c    b 
bba 

2        3 

abg 

2        3 
2        3 

e   d|f 


i— 1— ^ 


^^lrrp=g=p=fzi=?fe-*-»-^-*-^=  :fez?if:fz*z^; 


ttir 


x-t^ 


d   cfl 

r^ — r  ^-^ — I — i — i — I- 


4 

b 

1. 

3 

g« 

a 

2 

3 

f» 

g 

2 

3 

e 

f 

2 

3 

d 

eb 

2 

3 

c 

db 

-I— L- 1— I- I— L-- 


qt?« 


I  J    I 


E9*" 


n" 


»0^m»i 


-I— I— h- 1    I    I 


"'-''^'-^''"^^~=F=-r:-^i-:r^': 


bj  J  J  J 


n— 


1 1  I  I  I 


ffi — \ — 1 — i — I — i — I — I 


-x--±-x-x 


S" 

f  ^  h  ^ 

-f-! — F-t— 

t^^ 

1 
^ 

J?.- 

-h    L    L~ 

r" 

T 

1 
^ 

5i 

ti'" 

-^- 

~v- 

-•- 

»^ 

li^ 

1 

1 
-•- 

1 

•    ,    - 

^ 

—3—3 

-?4^^ 

_-:^_ 

--- 

— 1- 

-»^- 

--^ 

^ 

^z 

• 

I 


-^-t- 


^^=^=^^ 


=;ts 


*— ^— * 


m 


36 


THE  SYNTHETIC  METHOD  FOR   THE  PIANO-FORTE. 


XXX.    SIGNS  FOR  SILENCE. 


A  note  is  a  sign  for  a  sound  of  a  certain  duration,  or 
length.  There  are  times  when  the  sound  must  stop  for 
the  wliole  or  part  of  a  measure. 

The  sign  for  Silence  is  called  a  Rest. 

Each  kind  of  note  has  a  Rest  to  match  it. 


s~ 


-(£?- 


Whole  Note.      Wliole  Rest.      Half  Note. 


Half  Eest. 


Quarter  Note. 


Quarter  Kests. 


To  remember :  A  whole  rest  hangs  down  from  the 
line.  The  half  rest  stands  on  the  line.  Quarter  rests 
turn  to  the  right,  or  have  two  hooks,  one  at  the  top 
and  one  at  the  bottom. 

Write  the  counts  under  the  following  :  — 


I 


5! 


:d: 


Ip^Pgll 


-s> 


^IeIe* 


l=i=- 


l==i=|: 


XXXI.    WORDS  TO  INDICATE  SPEED. 


Although  music  has  been  in  the  world  nobody  knows 
how  long,  yet  it  was  first  brought  to  its  present  form 
by  the  Italians.  Most  of  the  words  written  at  the 
beginning  of  the  staff  to  tell  how  fast  or  how  slow 
pieces  should  be  played  are  Italian.  There  are  a  great 
many,  but  we  shall  choose  from  them  only  enough  for 
our  present  needs.  They  should  be  committed  to 
memory. 


We  may  play  very  sloiuly  (1),  or  slowly  (2),  or  not 
quite  so  slowly  (3),  or  quickly  (4),  or  very  quickly  (5). 

Lento  (1),  Andante  (2),  Andantino  (.3),  Allegro  (4), 
Presto  (5). 

Just  as  andanimo  means  "  not  quite  so  slowly,"  so 
allegretto  means  "  not  quite  so  quick  "  as  allegro.  Then 
there  is  one  other  word,  moderato,  which  means  "  mod- 
erately." 


Lento.    Andante.    Andantino.    Moderato.    Allegro.    Presto.    Allegro.    Allegretto.    Moderato.    Andante.    Lento. 


Each  quicker  than  the  one  before. 


Each  slower  than  the  one  before. 


XXXII.    CANONS. 


Look  at  No.  8  carefully  and  notice  the  dotted  lines. 
No.  8  is  called  a  Canon. 

A  Canon  is  an  unchangeable  law. 

You  remember  the  Bible  story,  where  Daniel  was 
cast  into  the  lions'  den,  because  he  chose  to  obey  the 
will  of  God,  rather  than  "  the  law  of  the  Medes  and 
Persians,  which  altereth  not."  That  unchanging  law 
was  a  canon. 

The  unchanging  laws  of  the  church  are  called  Canons. 

In  Music,  a  Canon  may  have  two  or  more  "  voices." 
All  the  little  pieces  you  have  learned  so  far  have  been 
two-voiced.     Each  hand  has  played  one  voice. 

[Note.  —  It  is  suggested,  for  future  use,  that  all  Canons  should  be  learned  as  follows :  Play  the  subject  alone  with  the  left  hand 
12  times ;  alone  with  the  right,  7  times ;  both  hands  together,  12  times  (that  is,  the  subject,  with  both  hands  playing  the  same  notes 
at  the  same  time)  ;  after  that,  play  it  as  written.] 


A  Canon  begins  with  one  voice,  called  in  Latin,  Dux 
(Duke),  that  is.  Leader,  which  gives  out  the  subject,  or 
melody.  The  second  voice,  called  Comes,  that  is,  com- 
panion, follows  the  leader,  with  an  exact  copy  of  the 
melody  of  the  subject. 

When  you  read  the  Story  of  Roland,  you  will  see 
how  a  Squire  followed  his  Knight  in '  very  much  the 
same  way  that  Comes  follows  Dux.  No.  8  is  said  to 
be  a  Finite  Canon,  because  it  has  an  ending.  Finite  is 
another  word  for  finished. 

Point  out  Dux  and  Comes  (pronounced  Ko'mei). 


THE  ELEMENTS   OF  MUSIC  AND  PIANO-FORTE  PLAYING. 


37 


O       Moderato. 


2 

— ^- 


COMES. 


KUNZ. 


-4 


eJeI; 


«-?: 


p 


^^ 


i=pzi: 


i=H 


A  ("""")  rest  is  used  for  a  wliole  measure,  no  matter  what  the  number  of  beats. 

O       Allegretto. 


KUNZ. 


'^Eil 


=P=E=t 


-iSi- 


An  Infinite  Canon  is  one  without  end.  If  you  chose 
to  play  No.  10  all  your  life  long,  you  might  do  so. 
But,  as  you  will  not  wish  to  repeat  it  many  times,  this 


10 

Lento. 


sign  (^'^),  called  a  Pause  or  Hold,*  is  placed  over  the 
notes  where  an  ending  may  be  made. 


•  Dr.  Mason  advocates  the  use  of  the  word  hold  for  the  (  0  i  over  a  note,  and  the  word  pause  for  the  same  sign  over  a  rest 


An  Infinite  Canon. 


I 


-si- 


(T) 


Ei 


-(^- 


i 


r 


-i9- 


XXXIII.    LEGER,   OR   LIGHT,    LINES. 


You  remember  that  middle  C  has  a  little  line  all  to 
itself,  between  the  sta,ves.  You  also  remember  that 
once-lined  D  is  written  above  the  leger  line.  There 
are  times  when  the  left  hand  must  use  the  notes  that 
belong;  to  the  Treble  Staff,  and  when  the  ria;ht  hand 


must  J)lay  Bass  notes.  In  order  to  prevent  confusion, 
other  leger  lines  are  added  between  the  staves.  Mid- 
dle C  is  always  the  first  line  below  the  Treble  Staff, 
and  the  first  line  above  the  Bass  Staff. 


The  notes  bracketed  on  both  these  staves  represent  the  same  sounds. 


y 

M 

/(u. 

r-^ ■ 

.  r' 

r 

i1 

r 

r 

jV 

u 

\j2-2 
1 

^ 

^f ^ \ & — 

38 


THE  SYNTHETIC  METHOD  FOR    THE  PIANO-FORTE. 


XXXIV.    DOUBLETS. 


Sometimes  it  is  necessary  to  play  two  notes  to  one 


beat.     In  that  case,  a 


^ 


* — • — 0 — •- 


^i 


would  have 


only  two  beats,  but  four  notes.     If  we  wished  to  count 


them  very  slowly  and  surely,  the  best,  way  would  be  to 
say  one  to  the  first  note,  and  to  the  second,  two  to  the 
third  note,  and  atid  to  the  fourth. 


Triple  Rhythms. 


2F' 


-(SI- 


J^J- 


-s>- 


S ■ 0- 


I    I    I    I   J    I 


-(©- 


I 


I    I    I   J 


— 9 — » — »- 


-• — m — m- 


9  10 

Ml    I   MM 

-SI 1-© G> « — • — ^S>- 


11  12 

I  I  I  M  I   M    Ml 


13 

I   I 


14 

i   I 


15 


16 


-t-^- 


-• — vs- 


-9^G> — ^ 


17 

J- 


18 


I 


-&- 


I 


[Note.  —  The  Scale  Walks  to  be  eventually  learned  also  in  these  rhythms,  beginning   J  =  50.     Speed  to  be  increased  indefinitely.] 
Ins  means  twice  ;  the  two  measures  should  be  played  twice. 


11 

Allegroy 


bis. 


-sJ- 


121 


-!&- 


:^ 


z^z 


s- 


-&- 


=^- 


=^ 


-p~ 


12 

— 1 — 

— H — 

1 

-, 4- 

I 

Andante. 

bis. 

1 — 

1 — 

1 — 

— 1|— 

— 1| 

P2~3— Jrr 

_^._ 

-ri— 

3 

— /&— 

^- 

— 1 

ri   - 

^ 

—&— 

^■^ — 

1 

Of* w— 

-&— 

— G> 

— 1 — 

-f^- 

15 

— &— 

~& — 

^                 -^^— 

G                      II 

\ 

^  o 



— ^— 

1 ' 

_p — 1 1 — 

— P=— 

t 

fl — 

1 1 

\ 

^ 

1            L ! 

~^ \ '■ 



II 

13 

Lento. 

-3- 


7  A  :     


^Z±Z 


:li^i^^ 

.l!i^__.^._ 


bis. 


-S^ 


?t-t-(Z^ 


.1?^- 


lEtl 


KUNZ. 


-i — I — 


^•=t^i 


i?^.. 


THE  ELEMENTS   OF  MUSIC  AND  PIANO-FORTE  PLAYING. 


39 


XXXV.    REPEATS. 


In  the  chapter  on  Rhythms  we  learned  how  rhythms 
rhyme.  We  shall  find  that  not  only  rhythms,  but 
sections,  and  phrases,  and  even  periods,  rhyme. 

When  a  double  bar  occurs,  having  dots  on  its  left 
side,  it  is  called  a  REPE.-i_T,  which  means  that  one  must 
go  back  to  the  beginning  of  the  piece,  or  to  the  last 
double  bar  having  dots  on  its  right  side,  and  play  that 
part  over  again. 


M 


When  two  jDeriods  are  joined,  they  form  a  com- 
position of  16  measures,  called,  by  some  authorities. 
Small,  tivo-part  ■primary  form. 

In  this  little  piece  the  first  phrase  is  repeated  ;  so,  of 
course,  playing  it  twice  makes  two  phrases,  and  of 
course  they  rhyme  !  After  the  double  bar  comes  a  new 
phrase,  and  then  the  first  phrase  over  again,  making 
the  first,  second,  and  fourth  phrases  rhyme  !  There 
are  only  two  kinds  of  motives  in  the  whole  piece : 
"  Florida"  and  "  Yosemite." 


The  Phrase  and  its  repetition  form  the  first  period. 


14-   Allegretto. 

OTH^LITT. 

^^ 

^^ 

V    4      1                ' 

1 

1 

1 

1 

( 

/hi— T—i^-^-^-^ 

— \~ 

-1- 

— n-1- 

1 J-T^- 

-H — ^— r*-^ 

-J-i-H— 4- 

—}. 1 ^-T-^ 

Flor,-i   -  da,    Yo- 

se   - 

mi 

■0- 
-  te,    Yo- 

se   -  mi  -  te,    Yo  - 

-Id    '-^ 

se  -  mi  -  te. 

1         t                     ' 

=* « ^— •- 

1 

f 

f\^     ^ 

H           -J      ^— 

H   J— >  . 

'    -1    H      -1 

•  -!      1      1      1 

\ 

^"4— ?5 

-d ^--5— 

^ 

-J i-^4 

-•—^—^-rw- 

•      ^      -l-Tid— 

\ 

4 

I 


ijzxit 


-4^ 


^=d=JEaE 


^— •— i 


nr^= 


-s>- 


^=i 


::ii:=J=:n± 


isi 


^— •— Jr 


Find  the  rhythms,  sections,  and  phrases  that  rhyme. 
_/^   Allegro. 


BEYER. 


M  ^r  -  r^^  r 

H«=r^J-rJ-f= 

^    .                          1 

~&- T 

i^r-r  i-r^--^ 

yyZ     •    !      "    \-       -^-. 

-\-     r-^ 1 —        r 

1 0 — 1 — y^ — 1 — 

^t^t-Tf 

•     11               h 

-=-  -^  =-  ■*■    C    -^ 
— m-ri •— 1 ^ 1 

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-•J^ ^— 1 1 1— 

=F^ — 1 — 1 — I — (=- 

_tl_^ j 1 1 1— 

^   1 

1              1 

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z± 


:j= 


-_ — |-»-b^ — 0 — I — 0- 

-F— Li — ^0 1 J 1- 

-| — t— — F^' — ^ 


^ 


^  .f  jS 


._l — 0.^J — 0 — I — 0. 


-i9- 


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^a- 


ztz: 


s^ 


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r^ 


-(2. 


40 


THE  SYNTHETIC  METHOD  FOR    THE  PIANO-FORTE. 


XXXVI.    MAJOR   AND   MINOR. 


How  many  half  steps  are  there  between  C  and  e  ? 
How  many  between  e  and  G  ?  From  C  to  e  is  a  third, 
and  from  e  to  G  is  a  third,  yet  one  has  four  half  steps, 
and  the  other  three.  That  proves  that  there  must  be 
two  kinds  of  thirds  used  in  triads.  The  wide  or 
"  large "  third  is  called  Major,  and  the  narrow  or 
"  small  "  third  is  called  Minor.  A  Major  third  covers 
five  digitals.  By  placing  the  left  fifth  finger  upon  any 
note,  and  allowing  each  finger  to  rest  upon  the  digitals 
in  half  step  order,  the  five  and  thumb  will  cover  a  prime 
and  tierce  of  a  Major  third.  A  Major  triad  has  a  Major 
third  between  the  prime  and  tierce.  A  minor  triad  has 
a  minor  third  between  the  prime  and  tierce. 


Triads  go  together  in  pairs,  and  these  pairs  share  the 
same  major  third.  If  we  mark  the  Major  third  with  a 
straight  line  having  square  ends,  and  the  minor  third 
with  a  curved  line,  it  will  be  easy  to  recognize  how 
Major  and  minor  triads  are  related  to  each  other. 

1^ ^111  V 

a   C   e 

VI  I  III 

Such  pairs  of  triads  are  called  Relatives. 
Supply  the  notes,  above  or  below  these  Major  thirds, 
to  form  both  minor  and  Major  triads. 


iiEE; 


A. 


=g; 


^k 


-<5i- 


:i= 


A. 


aA 


A/ 


:§i:: 


* 


xA 


i, 


^A 


A. 


is- 


nA 


t 


The  word  Major  is  written  with  a  capital  M  ;  minor, 
with  a  small  m.  In  order  to  make  a  sign  for  triads, 
the  Major  third  is  marked  with  a  large  accent  (A),  (one 
half  of  a  capital  M,)  and  the  minor  third  with  a  small 
accent  (a).  Therefore  the  sign  for  a  Major  triad 
is  Aa,  and  for  a  minor  triad,  aA. 

A  Major  triad  may  be  changed  into  a  minor  one  by 
lowering  the  tierce  a  half-step. 

Play  the  triad  of  C  Major,  change  it  into  C  minor ; 
G  Major,  g  minor ;  F  Major,  f  minor ;  D  Major, 
d  minor  ;  A,  a  ;  E,  e  ;  B,  b. 

A,  minor  triad  may  be  changed  into  a  Major  one  by 
raising  the  tierce  a  half  step. 


Play  the  triad  of  d  minor,  change  it  into  D  Major ; 
a  minor,  A  Major;  e  minor,  E  Major;  g  minor, 
G  Major ;  b  minor,  B  Major. 

Go  back  to  the  beginning  of  the  book,  and  mark 
against  each  piece  the  three  letters  of  the  triad.  If 
the  triad  is  Major,  write  the  prime  and  quint  in  capital 
letters,  and  the  tierce  in  a  small  one.  If  the  triad  is 
minor,  write  the  prime  and  quint  with  small  letters, 
and  the  tierce  with  a  capital.  There  are  54  Major  and 
minor  triads. 

Fill  in  the  tierce  of  all  the  quints,  according  to  the 
triad  sign.     See  MS.  Music  Book,  Part  I. 


An  Exercise  to  Strengthen  the  Outer  Fingers. 


To  get  the  most  speedy  results  from  this  exercise, 
the  fifth  fingers  must  be  made  straight  and  the  wrists 
held  high  enough  to  allow  a  straight  line  to  be  formed 


down  the  hand-back  and  the  back  of  the  finger.  Use 
the  finger  as  if  it  were  a  bayonet.  Play  also  with  the 
fourth  finger. 


6 

% 

t 

\ 

0 

•'l 

J 

; 

/_  /" 

J 

^'m 

1 

rm^ ' 

^•* 

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^m- 

V  u 

r?''" 

1 

5 
4 

4 

5 

4 
6 

1 

4 

6 

5 

1 

1 

6 

6 

1 
6 

\ 

1 
1 

1 
6 

5 

5 

1 

6 

1 

r\- 

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fi.* 

'^'m 

9-P.7^S= 

t 

1 

1 

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1 

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1 

1 

s 

5 
4 

5 
4 

6 

s 

THE  ELEMENTS   OF  MUSIC  AND  PIANO-FORTE  PLATING. 
16  (  J=ioo.)     Presto. 


41 


KUNZ. 


Find  which  phrases  rhyme 
1  7  Allegretto.^ 


The  Bees. 


GURLITT. 


1: 


-h- 


Once         I 
_(2 


n=:^i 


caught       a 


lit 


-^- 


bee 


And 


he  was 


^E^E^ 


much 


too 


-I- 


uai-m        for 


me  ! 


Words  by  Frank  Dempster  Sherman. 


XXXVII.     THE   TWELVE    CLAVIER   POSITIONS   OF    QUINTS. 


In  training  the  wrists  to  play  quints  with  a  full, 
round  tone,  the  digitals  must  be  attacked  with  the 
fifth  finger  straight,  and  the  thumb  upon  its  point. 
The  second,  third,  and  fourth  fingers  must  be  curled 
in  under  the  palms,  leaving  the  thumb  and  little  fin- 
ger to  stand  in  a  vertical  position. 

The  attack  is  to  be  made  with  the  wrist  high,  and 
the  motion  must  hinge  at  the  elbow.  The  stroke  which 
produces  the  tone  must  be  made  directly  over  the  digi- 
tals.    The  finger  tips  must  cling  to  the  ivories  just  as 


the  iron  bar  clings  to  a  magnet,  and  while  standing 
still  the  muscles  must  not  contract. 

The  strictest  rule  of  all  music-theory  is  that  two 
quints  must  never  follow  each  other  upon  adjacent 
staff  degrees.  To  avoid  parallel  fifths  the  whole-note 
sixth  is  provided  as  a  link  between  the  quints.  Upon 
the  whole  note  the  hand  and  arm  must  be  completely 
relaxed,  without  allowing  the  palm  to  drop  from  its 
arched  position. 


18 


zp—pz 


-l?^?-,-,!?) 


l^-- 


■F=F=F= 


t^ 


k 


-0- 


;c=l^=l=t=t=ti 


m 


t;^- 


^»— ^  * 


-1^- 


3:p=P=N=N= 


-• — •- 

=F=!== 


:tjp: 


-t:=t: 


b- 


=F=F 


9^ 


1-^ 


It! 


=F=i 


j2. 


W- 


■^ 

->-- 


r- 


S.  -^    #1" 


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4f- 


-ig- 


li^^ 


42 


THE  SYNTHETIC  METHOD  FOR    THE  PIANO-FORTE. 


When  the  hands  and  wrists  have  grown  accustomed 
to  the  motion,  learn  to  jump  tlie  quints  an  octave. 
This  should  be  practised  until  the  pupil  can  make  all 
the  skips  with  his  eyes  closed.  The  right  hand  an 
octave  higher. 


Later  extend  the  exercise  by  sounding  the  quint  in 
the  great,  small,  once-lined,  twice-lined  octaves,  and 
return  again,  sounding  the  once-lined,  small,  and  great 
quints,  finishing  with  the  sixth-link  leading  to  the  next 
quint. 


m 


Count  eight. 


Simile. 


Quints  (Skips  of  an  Octave). 


n 


^  ♦  t?i 


--^-n 


m- 


n 


— -— -i ^-^# r-i-a ^"*^-i — |-f" i"^i — ^- 


a^ 


r^- 


=9^ 


--N- 


'r- 


3i-- 


~ — I — \- 


-1-- 


lit 


-4 


^  Y 


~^^ 


:fej- 


-iTxffn — bff- 


^ai^l 


XXXVIII.    CHORDS. 


When  all  three  letters  of  the  triad  are  sounded  at 
once,  they  form  what  is  called  a  Chord. 

The  letters  of  a  chord  are  written  one  over  the  other. 


-g- 


©- 


l^= 


=S: 


iSr 


If  you  have  ever  stood  on  the  shore  and  looked  out 
on  the  ocean,  you  remember,  that  far  away  the  sea  and 
the  sky  seemed  to  touch,  and  that  where  they  appear 
to  meet  they  form  a  line  that  is  perfectly  straight. 
That  line  is  called  the  horizon,  and  all  straight  lines 
running  from  side  to  side  are  called  horizontal  lines, 
after  it. 

A  Melody  or  tune  is  Horizontal  Music. 

A  vertical  line  is  a  line  running  straight  up  and 
down. 

Chords  are  Vertical  Music. 

Those  letters  not  contained  within  the  triad  are 
called  Leaning  Tones. 

There  are  other  forms  of  vertical  music  beside  triads. 
These  forms  are  called  Leaners  or  Leaning  Chords, 
because  when  they  are  heard  by  themselves  they  sound 
unfinished. 

Listen  while 


I   play  a 
leaner,  followed  by  a  triad. 

Triads  are  the  only  Independent  Chords. 


-o- 


-^- 


5^gl 


In-dependent  means  not  dependent  or  "  hanging  from." 

Anything  that  is  independent  can  stand  alone  ;  for 
instance,  the  United  States  are  free  and  independent 
now,  but  before  the  Revolutionary  War  they  were 
colonies  of  Great  Britain,  like  Canada  and  Australia. 
Colonies  lean  on  the  mother  country. 

If  you  take  the  lowest  and  highest  letters  of  a  triad, 
and,  instead  of  the  middle  letter,  play  either  one  of  the 
leaning  tones,  we  shall  have  a  Leaner. 

In  triads,  all  three  notes  are  on  one  side  of  the  stem. 

In  chords  with  leaners,  there  is  one  note  on  one  side 
of  the  stem  and  two  on  the  other. 

If  the  lower  leaning  tone  is  used,  the  chord  is  called 
a  Lower  Leaner,  because  it  leans  from  below  against  the 
middle  letter  of  the  triad  which  is  above  it. 

If  the  ujjj^er  leaning  tone  is  used,  the  chord  is  called 
an  Upper  Leaner,  because  the  upper  leaning  tone  leans 
from  above  down  towards  the  tierce. 

In  our  marking  of  Leaners  we  shall'  use  an  arrow  to 
point  in  which  direction  the  chord  leans. 


Lower  Leaner. 
t 


Upper  Leaner. 


When  the  notes  of  a  chord  are  played  one  after 
another,  instead  of  being  sounded  together,  they  are 
called  Broken  Chords. 


THE  ELEMENTS   OF  MUSIC  AND  PIANO-FORTE  PLAYING. 
Right  hand  two  octaves  higher.     Repeat  each  set  four  times. 
20 


43 


I 

2 

1 ^ 1 i ir- 

I — i m 1 z 

3 

1 m 1 2 

^^rn^^m^^ : 

.— 1 — a— ^ , 1— ^ 

— 1— a — ^ \—0 — ^-T 

-*-i-f-t — ^1 1 — r  • 

-. ^ — a 1— ^ 

^1  ^^—^T\ • 

fJ^feTz^Ef-^ 

E_^    ,  -te     p 

1 ■ ~ 

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t — t^F — =tiJ:_ 

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ZJZ^S 


ZflZCdZZZLZ 


jon 


'¥      czjzp 


m 


=^=i 


:p=J=i 


?^E 


0 — • 


2X    Andantiiio. 


XXXIX.    INTERVALS. 


The  distance  between  one  letter  and  another  letter  is 
called  an  Interval.  Between  last  Christmas  and  next 
Christmas  is  an  interval  of  a  year.  From  Sunday  to 
Sunday  is  an  interval  of  a  week. 

Between  C  and  D  is  an  interval  of  a  Second, 
because  there  are  two  letters  covered.  |_ 

A   second    lies    between   a    line    and    a  _  6^ 

space. 


Between  C  and  E  is  an  interval  of  a  Third.     C  (d)  E. 


=i= 


-^^— 


A  Third  extends  across  two  lines  and  a 


s> — I 


space,  or  two  space.s  and  a  line. 

From  C  to  F  is  an  interval  of  a  Fourth 
C(de)F. 

A  Fourth  extends  across  two  lines  and 
two  spaces. 
From  C  to  G  is  a  Fifth.     C  (d  e  f )  G. 

A  Fifth  extends  across  three  lines  and 
two  spaces,  or  three  spaces  and  two  lines. 
A  Fifth  is  a  hollow  triad. 


T 


Write  the  figure  of  the  interval  underneath  the  following  notes :  — 
M.S.  Ex. 


± 


T- 


=i^ 


i 


--^- 


?^'= 


Write  a  note  over  the  given  note  to  form  the  interval  marked  underneath. 


J , » 

-^^H=^#  I  J=i ^ — ^       ~        r^    t f"-  ^^^"^= 


3d 


5th 


2d 


4th 


3d 


5th 


2d 


5th 


3d 


4th 


5th 


2d 


44  THE  SYNTHETIC  METHOD  FOR    THE  PIANO-FORTE. 

Mark  the  intervals  under  the  bass  notes. 


/ 

22 

— (© — 

- 

HENNES. 

P4r          ^ 

—^ — 1 

— ~\— 

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1 

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m  ^-^- 

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t 

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6J^^ 

— & 

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1- 

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iri 

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1 1- 

1 

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f^                -, 

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t  ~»- 

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— (& — 

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1          ■         1 

I        ^         1 

1          '        1 

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\ 

XL.    PIANO-FORTE. 


A  long  time  ago  people  used  to  play  on  a  queer  little 
instrument  that  looked  something  like  a  tiny  grand 
piano.  It  had  digitals  and  strings  very  much  the  same 
as  our  piano-fortes,  but  when  the  digital  was  pressed 
down,  instead  of  a  clear  singing  sound,  there  came 
from  it  a  thin,  brittle,  wiry,  little  twang,  not  unlike 
the  sound  of  a  small  harp.  The  tone  of  the  iTarpsichord 
(as  this  little  instrument  was  called)  was  produced  by  a 
quill  which  scraped  the  string,  so  there  was  no  way  to 
play  it  that  the  music  might  be  sometimes  loud  and 
sometimes  soft. 

About  two  hundred  j'ears  ago,  a  man  living  in 
Florence,  named  Christofori,  invented  a  new  instru- 
ment that  had  hammers  for  striking  the  strings,  instead 


of  the  quills  that  plucked  them  in  the  harpsichord.  By 
means  of  these  hammers,  the  tone  could  be  made  either 
loud  or  soft,-as  the  player  might  fancy. 

The  Italian  word  meaning  soft  is  Piano  ;  the  word 
meaning  loud  \^  Forte.  Christofori  called  his  instru- 
ment, PiANO-e-FORTE  ;  that  is,  soft  and  loud.  Have  you 
ever  seen  a  piano-forte  ? 

We  use  the  words  piano  and  forte  in  our  written 
music,  as  well  as  for  the  name  of  our  instrument.  But 
instead  of  writing  out  the  whole  words,  we  use  only  the 
first  letter  of  each,  p  means  that  the  part  of  the  piece 
which  is  going  to  be  played  must  be  soft ;  /,  that  the 
coming  part  must  be  played  firmly  and  loud  ;  //  means 
very  loud ;  pp,  very  soft ;  mezzo  [mf)  means  medium. 


2  3 

Crescendo. 

2)  mf 

Growing  Louder. 


f  ff  f 


3  2 

Diminuendo. 


mp 

Growing  Softer. 


When  an  accent  is  written  over  a  note,  that   note 
is  to  be  pla^'ed  one  degree  louder  than  the  other  parts  of 


the  measure.     For  instance,  if  a  measure  is  marked  mf, 
the  accented  note  must  be  /. 


THE   ELEMENTS    OF  MUSIC  AND   PIANO-FORTE   PLAYING. 


45 


The  Bells. 


23  Allegro. 


BEYER. 


gP^^ 


fe-if- _-gi 


XLI.    PROPER   NAMES. 


When  writing  the  Tonal  Gravitation,  you  learned  the 
proper  name  for  the  first  letter  of  the  tonality.  Now 
we  must  learn  the  proper  names  for  the  seven  degrees, 
because  the  triad  upon  each  degree  of  the  tonality  is 
known  by  its  proper  name. 


SD 


sbm 


D 


IV 

vi 

I 

iil 

V 

F 

a 

sbt 
.0 

VII 

b 

/C^ 

ii 
d 

e 

G 

The  Tonic  is  the  centre.  The  fifth  letter  above  it  (G) 
is  called  the  Dominant,  and  marked  with  a  capital  D 
and  a  capital  V. 

The  fifth  letter  beloiv  the  tonic  (F)  is  called  the  Under 


or  Sub-Dominant,  and  marked  with  a  capital  SD  and 
a  capital  IV.     (Quints  are  Dominants.) 

The  third  letter  above  the  tonic  (e)  is  called  the 
Mediant,  and  marked  with  a  small  m  and  a  small  iii. 

The  third  letter  heloiv  the  tonic  (a)  is  called  the  Under 
or  Sub-Mediant,  and  marked  with  a  small  sbm  and  a 
small  vl. 

Dominant  means  "  over-ruling."  Big  boys  who  com- 
pel little  boys  to  do  as  they  wish  domineer  over  them. 
The  dominants  are  most  important  degrees  in  the 
tonality  after  the  tonic.  Mediant  means  "  in  between," 
like  "  intermediate." 

The  letter  above  the  tonic  (d)  is  called  Supee-Tonic, 
and  is  marked  with  a  small  spt  and  a  small  ii.  Super 
means  "  above." 

The  letter  below  the  tonic  (b)  is  called  the  Sub-Tonic, 
and  is  marked  with  a  small  sbt  and  a  small  vii. 


XLII.    ABBREVIATIONS. 


As  the  names  belonging  to  the  degrees  of  the  tonality 
are  such  long  words,  we  shall  use  the  letters,  instead, 
for  their  signs,  just  in  the  same  way  as  we  use  U.S. 
instead  of  writing  out  "  The  United  States  of  America," 


or,  as  instead  of  writing  the  word  "dollar,"  we  put 
the  sign,  %.  Such  signs  are  called  abbreviations  or 
shortenings. 


46 


THE  SYNTHETIC  METHOD   FOR    THE   PIANO-FORTE. 


Degree  Number. 

Name  of  the  Degree. 

Abbreviation. 

Triad  in  the  Scale  of  C. 

I 

ii 
ill 
IV 

V 
vi 

vii° 

Tonic 

Super-Tonic 

Mediant 

Sub-Dominant 

Dominant 

Sub-Mediant 

Sub-Tonic 

T 

spt 

m 

SD 

D 

sbm 

sbt 

C   (i)         e     (iii)       G  (V) 

d  (ii)     F  (IV)    a  (vi) 

e     (iii)        G   (V)        b    (Tii) 

F  (IV)    a  (vi)    C  (I) 

G  (V)        b    (vii)      d    (ii) 

a    (vi)       C    (I)         e     (iii) 

b     (vii)      d    (ii)        F   (17) 

The  degrees  having  Major  triads  are  marked  with  large  numbers,  the  minor  degrees  with  small  ones. 


XLIII.    PASSING   TONES   AND   FIVE-FINGER   PROGRESSIONS. 


When  we  fill  in  the  other  tones  not  contained  in  the 
triad,  those  tones  are  called  Passing  Tones.  We  shall 
now  fill  in  the  triad  upon  each  degree  of  the  tonality, 
and  you  are  to  mark  the  Passing  Tones  in  each  measure. 
The  sub-tonic  triad  consists  of   two  minor  thirds,  and 


therefore  it  cannot  be  a  true  chord,  but  is  called  a 
"  diminished  "  triad.  A  diminished  triad  shuts  up  into 
the  prime  and  tierce  of  the  Major  third  ir-s-^ 
ivhose  prime  lies  a  half  step  higher 
than  its  own.     Its  sign  is  vii° 


)  III   1 


24^ 


Tonic  Group. 


Super-Tonic  Group. 


-ir — a 3 — 4- 


^r-i-t 


dz^:t; 


12       3?? 


-I ^- 


^—* 


E± 


Mediant  Group. 
-a-i-i : ; — 


Sub-Dominant  Group. 


i=i 


■4 


^—» 


-#-j — I — ^- 


-i=^-^ 


'^m 


il 


Dominant  Group. 
1  , 


Sub-Mediant  Group. 
1 


:*-=F= 


=P^»- 


:p=t 


Sub-Tonic  Group. 


:i=jB: 


=i=^ 


-I- 


TONIC. 


0 a 9-ri a 9-r-^- ^ ■■ 


Tonic  Group. 

i       4       3       2 


ft—0 


4        5 
a — »-!-• 


SuB-ToNic  Group. 


Sub-Mediant  Group. 
4         5 


\ '■ a-L^ ! — 


Dominant. 

4         5 


=i=P=?: 


±z=^-ir 


\ — 1—1- 


^m 


Sue-Dominant. 


Mediant. 

4.        5. 


SUPER-TONIC. 
S 


j=± 


IB 


^^^^E!^m. 


it±izzjt=£z 


-ji=zi: 


Id—* 


-»!—*- 


2        1 


-•— ^ 


[On  pages  69-71  the  above  is  given  in  the  other  Keys.     As  far  as  possible  the  pupil  is  to  form  the  progression,  by  reference 
to  the  tonality  degrees.     On  page  72  other  rhythmic  forms  for  the  same  tones  are  to  be  found.] 


THE  ELEMENTS   OF  MUSIC  AND  PIANO-FORTE  PLAYING. 


47 


XLIV.    ACCIDENTALS. 


This  sign  (jj)  is  called  a  Cancel,  because  it  shows  that 
a  sharp  or  a  flat  is  to  be  cancelled  or  rubbed  out,  and 
that  the  note  is  to  be  played  as  a  primary  tone. 

Sharps,  flats,  or  cancels,  written  in  a  measure,  are 
called  Accidentals.  An  accident  is  something  that 
happens  unexpectedly.  Wherever  an  accidental  occurs 
in  a  measure,  look  out  for  "accidents"  in  your  reading 
of  notes  on  the  line  or  space  it  occupies. 

23 


A  sharp  written  before  a  note  changes  that  note  every 
time  it  occurs  in  the  same  measure.  But  if  the  same 
note  is  sharp  in  the  next  measure,  the  |I  will  have  to  be 
written  again,  because  an  accidental  only  lasts  through 
one  measure. 

The  same  rule  governs  flats. 

Play  the  right  hand  two  octaves  higher. 


==t 


zMjz 


^^M^M^EfA 


:f:=F 


3*3=^: 


%0- 


&^-*j 


i^w- 


i=t: 


iJc^ 


s 


S 


26 


1     2U3    i  -#• 


1     2U 


Moderato. 


TB-»r~f 


e 


jS~- 


^^=^- 


-*    • 


.«_ 


Good  Advice. 


-i — l-iin 


•  -•-|2- 


KULLAK. 


-h- 1- 


m1- 


Is  a-  task 


ouce  bejrun! 


9^ 


lL 


Nevei-pause before  'tisdone. 


V 

Be  the  toil 


crreat  or  small 


:^=pj 


=P--p: 


^^ 


4f- 


t: 


:f^^ 


r^pip: 


_j^ 


Do  it  well, or 


uot  at  all. 

42- 


=t±=t 


IL 


* 


alv.  rhythms  of  compound  triple  time. 

3  4  5  6 


-&— S/~ 


I   I   I  J   I   II  I     I  J   I  I  I   I   I 


-G  -^-'rSt- — (S — ♦-t-S' » — S-^-\-&- 


-IJ-U- 


10 


11 


12 


13 


14 


_jj-ij- 


■St &-i\ — •-&- 


J-^-l 


Compare  the  Triple  Rhythms  with  these.  What  is 
the  difference  between  measure  2  compound,  and  5 
triple  ?  compound  3  and  triple  17  ?  compound  12  and 
triple  16  ?  compound  7  and  triple  6  ?  etc.     (See  p.  38.) 


Play  the  scale  walks  in  these  rhythms,  beginning  at 
80  =  J,  and  continue  grading  them  faster  untU  152=  J  is 
reached.  Tlien  return  to  ! .  =  50,  and  increase  the 
speed  indefinitely. 


KUNZ. 


THE  SYNTHETIC  METHOD   FOR    THE   PIANO-FORTE. 


28    Allegro. 

4 


KUNZ. 


=^ 


EE: 


=i:^ 


r-&- 


=^ 


i 


^r=i=^ 


=i=^ 


-^ 


9^F^ 


;^<>    Allegro. 


The  Stars. 


GURLITT. 


=2= 


:5=xr=p=if2:z3: 


-5^ 


:^i:L=p=|i=i=^-=r 


4=-_l=i^=^ 


nt 

Why      all  the 


stars     in  the 


skies   are   so 


bright.  I     am 


crescendo. 
sure      no  one 


knows  but  them 


PP 

■  selves    up 


there. 


9f2^ 


:^ 


/i 

:^    r^f- 

-^ri 

^7T=?— r- 

=^7^~rq 

""            0^^ 

^^^'  — 

r^=rf=rq 

— a — ^— a — >— 

~^ 

( 

fe=p^  ^ 

_f2_L_| ! 

=F  ^=F  ^i 

f-^M 

=p=^:^ 

— h — ' — 1 i— 

trtltf-^ 

_(S — ^ — 

J 

Are 

they  the 

lamps  which  are 

hung   out  at 

night  For  the 

fays 

and  the 

PP 

there? 

) 

gnomes  and  the 

elves      up 

1 

<y 

^ 

1    1      1    1 

I 

9-7S 

*" 

^ 

^            .   . 

-•-4^4- 

~/^ "" — 

\ 

Frank  Dempster  Sherman. 


XLVI.    A   CHAIN   OF   MAJOR,    MINOR,    AND   DIMINISHED   TRIADS. 


When  two  notes  produce  the  same  sound  upon  the 
piano-forte,  as  Cj;j!  and  Dl'  or  F  and  GW;,  they  are 
called  Enhaemonics. 


Mark  the  enharmonic  changes  in  the  following. 
Play  the  left  hand  an  octave  lower. 
See  MS.  Music  Book,  Part  I. 


'  Legatissimo. 

30 


h 


^\ 


AA 


2  5  5  5  ^ 

4  <n  3  n 


6 
P-== 


P. 


R 


jzit 


i^: 


M- 


1 


=^S^^^±^^^^ 


:K 


:=i= 


m^ 


i: 


crescendo. 


l^^r 


Si^ 


i^ 


l^aigi^iij 


3=jJ=g^^ggPg=i=^33^=.: 


=d=|!t 


THE  ELEMENTS   OF  MUSIC  AND   PIANO-FORTE  PLAYING. 


49 


pgE^Eg^^EJ 


:|i^-= 


m^^^^m^^^t 


^^^ 


^=itzici  E^Elf=lc 


fe^g^feS3 


:3^ 


!•=«?= 


I^E 


^ 


i 


;ti^ 


:^.=^^EEB±^,.=-^r^^^F=&^JEE^ 


^iMpEF^^F?^^: 


---k 


ES 


m 


XLVII.     FIVE-FINGER    PROGRESSIONS    IN   BROKEN   THIRDS. 


Left,  an  octave  lower  (to  be  practised  in  all  keys). 
1324  3  513 


1         3 


-I- 


H- 


i— •— * 


-» — ^ 


i 


1       III       II       IV        III         V       II       IV      III       V       IV      VI  I  III      V       IV      VI       V      VII  I  IV      VI      V      VII      VI       I 
53423153  53 


^=?=?=^ 


-0      4      P- #- 


-* — •- 


£Et^[?3 


^8 •- 


V      VII      VI       I         VII         II       VI       I       VII      II        I       III    VII     II        I       III       II       IV     I        III       II       IV      III       V 


5         3         4 

2 

3            15         3 

— F— ^  r^ — ^ 

^r^  M 

V       III      IV       II 
13         2         4 


III         1      1  IV      II      III       I        II      VII  I  111      I        II      VII      I        VI  I  II      VII      I       VI      VII      V 


i 


:^:^4 


^_=^=1=^= 


;ii 


if=t— fi 


-^ — *- 


-u — •- 


-fS'- 


I       VI     VII      V        VI        IV    JVII     V      VI      IV      V      lll|vi      IV      V       III      IV      II  [V      III      IV      II         I 


50 


THE  SYNTHETIC  METHOD  FOR    THE  FIANO-FOBTE. 


XLVIII.    EXERCISES   TO   DEVELOP  MUSCULAR   ELASTICITY. 


The  arm  weight  is  to  be  sustained  naturally  upon  the 
finger  marked  with  tlie    hooked   line  5 

(as  shown  in  the  following  cut),  while 
the  finger  indicated  by  the  figure  with 
the  dots  is  to  tap  the  digital  lightly  seven  times,  but 
at  the  eighth  time,  i.e.  upon  the  first  note  of  the  new 
measure,  the  tone  must  be  very  loud,  and  the  finger 
sustained  while  its  neighbor  takes  up  the  elastic  strik- 
ing, seven  times  lightly.     {2^P-) 

Repeat  with  6   strokes ;  then  4  ;  3  ;  2  ;  and  finally 
the  sustained  tones  only,  in  regular  legato  succession. 


#'''^tr:/.V-* 


Stencil  for  the  Exercise. 


:  5 ^1  5  :      5 

4  4 1  4  4 1 

3  3 1  3'  3 1 

2  2 1        2'  2 1 

1  1 1 


First:  8  strokes  |  then  6  |  4  |  8  |  2  |  and  1,  respectively. 

Eefeeence  for  Teacheks. — Practise  also,  using  a  flexing  motion  instead  of  the  staccato  (withdrawing  the  finger  under  the  palm). 
Eiglit  Strokes. 


-fc — * 4 4 4 4 4 4- 


*7    L 


T-rr-r^ 


*?     -J,-^—-!     4444 


-»ri— 3 3 3 3 3 3 3- 

-L^. — « 41 A m M m m- 


3 3 3        3 


-3 — s — & — a — 2- — & — 9 — s- 


— (S"— i 


^   p   p   p  p   p   p   p 

7    I      I      I      I      t      I      I 


-# — m — » — « — m- 


-»— +-  +--+—+—» -^r- 


7 


:3: 


]=:]=;j=q=i=4: 


i 


W. 


t^-H 1 1 1 1 \ 1 P 


"Z5- 


-# — •- 


;= -I i i— 3 1 i 1 


•— #— • — #- 


'-•—•- 


THE  ELEMENTS   OF  MUSIC  AND  PIANO-FORTE  PLAYING. 


51 


Six  Strokes. 


r^ 


-^- 


^=^^-^=u- 


^ 


x^ — h^ 


'    ^    I I    I I 


q — \^=\- 


-w — i^ — ^ — i^- 


•7 


y     LJ    Lj 


-S? i ^=H- 


=^-^T— 


• # — 0 — 9 — 9- 


^     ^     L 


&"         -i  i- V -i -*— 


i 


ES= 


-iS^* 


1^ — 1^ — 1^ — Ji — 1^- 


^ 


ZZti 


-0 # 0 0- 


-'?— ^ 


i=E^t^ 


iES=S= 


•^1  -^ 


-# — « — 0 — 0- 


-&- 


-W — P- — ft — ^ — pt_ 


-H — ^ 


^=^- 


T^ 


^ — ^ — ^ — ^ — ^ 


i/^~ 


3:^^i 


* • — « 0- 


-n — y- 


-I i H 


-'? — d- 


# — p-^- 


-f-^-- r 


Four  Strokes. 


fc-t— " 

-^-^ 

— 1 

^ .- ^ 

^     ^^-^~ 

^'^  =n-H= 

-^— ^tt 

— 7— ^— -j — ^~ 

^   L-U 

^    ♦     -«u     ^ 

— '- — i — i — ^- 

1 

=p  rr-f- 

-^-i-.: 

«-   »~s-p- 

1 

I       "      •      " 

^^'   £  «   a 

■^., 

>^        /^    •     •     • 

r^- — — ^ 

1    '   ■   ■ 

J:r'^ 

-k 

^^    '^i-tl 

-^LiUii 

f.  p  p  f  - 

Three  Strokes. 


S— ••  0    -0- 

-d-. — - — =- 

-^       .     .- 

— 1 

— 1 

r^ 

—f ~^- 

-'^-i'^- 

-^- 

— « 

h¥- — ^ — P — P- 

tv"^— 1 — ^- 

^'  p-  '.   r 

1 — 1 1 

1  ^  . 

-J — • — 0- 

•?    Lj 

'     LJ 

♦  •  ?    i- 

-p-  '.     ? 

/  -           • 

J- 

— 1 — 
— 1 — 
— 0— 

• 

1 

« •  0    0 

N    /" 
••      f          ^ 

Two  Strokes.     Repeat  12  times. 


Repeat  8  times. 


PRACTICAL   APPLICATION. 


[KoTB.  —  The  following  pages  are  devoted  to  a  systematic  study  of  the  elements  already  given.  The  theoretical  explanations  are 
placed  together,  as  they  govern  all  the  technical  work  that  accompanies  each  piece.  The  exercises  in  muscular  elasticity  are  to  be 
kept  up  through  the  remainder  of  the  book  ;  and  in  connection  with  the  pieces,  the  scale  walks  in  one  of  each  kind  of  rhythm  —  J, 
I,  %  —  must  be  played  every  day.     It  would  be  well,  also,  to  use  the  quint-octave  skips  daily.] 


XLIX.    LEANERS  AGAINST  MAJOR  THIRDS. 

Every  major  third  is  hedged  in  on  each  side  by  a  half-step  leaner. 

Look  at  the  Major  third,  C  E.  The  half  step  below  the  prime  is  b  — 
which  leans  upward  to  C. 

The  half  step  above  the  tierce  is  f  —  which  leans  downward  to  E. 

Find  the  Major  third  of  g  —  play  it.  What  is  the  half  step  below  g? 
the  half  step  above  b  ? 

In  order  to  make  the  g  Major  third  exactly  like  C  Major,  the  f  must 
be  made  sharp  —  fJJ  is  the  leaner  of  g  Major  third. 

Now  play  the  Major  third  of  F.  Find  the  leaners.  E  is  a  white 
digital,  and  bt*  is  a  biack.     Bi?  is  the  leaner  of  F  Major. 

Find  the  Major  third  of  D.     Name  its  leaners. 

You  remember  that  in  learning  the  quint  succession,  you  found  that  you 
could  not  have  Cjf  without  having  fjf  —  Cjj!  is  the  leaner  of  D  Major. 

Find  the  Major  third  of  A.  Its  leaners.  What  is  the  leaner  of  A 
Major  ? 

How  many  sharps  come  before  gj|? 

Find  the  thirds,  and  name  the  leaners  of  E,  B,  FJf,  Ctt,  Bi?,  El?,  At?, 
DK  Gb,  CK 

Flats  are  leaners  against  the  tierce  of  Major  thirds. 

Sharps  are  leaners  against  the  prime  of  Major  thirds. 


m 


2 

4 


rjv;2S 


viri5*" 


4 


.f« 


(52) 


I 1      i^ 

afi/     1 ,      /a 


/"■ 


eft' 

,G  B 

y    r — ■     * 

,F   A' 
,B'D' 

,E'-  G ' 

A'     i ,       A\^ 


/ 


g' 


/g^ 


>/' 


c^ 


c'     I— — 1 

,G'  B 

b^ 


21; 
41; 

5t7 

61; 

71; 


THE  ELEMEN^rs    OF  MUSIC  AND  FIANO-FORTE  FLAYING. 


i>3 


L.    SATELLITES. 


A  Satellite  is  something  that  attends.  The  moon 
is  tlie  satelhte  of  tlie  earth.  Each  sharp  and  flat  is  the 
satellite  or  moon  of  one  Major  and  one  minor  triad, 


and  completes  the  signature  of  the  key  to  which  the 
Major  and  minor  triad-pair  belong.     See  Part  II. 


a  and  C  have  no  moon. 


Bb  belongs 

to  d    and  F     (1  b) 

Eb      " 

"  g       "    B  b  (2  V) 

A^      " 

"  c      "    Et!(3b) 

D>      " 

«   f      "    At?(4i2) 

Q\>      " 

"  bb    "    Db(5tj) 

Ct7        " 

"  etz    "    Gb(6!2) 

Fl7          " 

"  a!2    "    Cb(7t!) 

F^  belongs  to  e     and  G     (1  Jf) 


Cfl      " 

"  b      "    D    (2  jf) 

G#      " 

"   n    "    A    (3  #) 

Dtt      " 

"  cS    "    E    (4  if) 

Afl      " 

"  gjl    "    B    (5  fl) 

E#      " 

"djf    "    F#(6#) 

B3      " 

"  a#    "    C#  (7  #) 

These  are  the  15  tonalities  used  in  music. 


[The  chart  accompanying  the  Practical  School  of  Transposition  may  be  used  in  connection  with  the  following.] 
LL    TRANSPOSED  TONAL  GRAVITATIONS. 


As  there  are  15  tonalities,  the  tonal  gravitations  can 
be  played  in  each,  exactly  the  same  as  in  C.  When  a 
melody  is  changed  from  one  tonality  to  another,  it  is 
said  to  be  transposed. 

How  many  half  steps  above  I  is  II  ?  How  many  half 
steps  from  I  to  111  ?  How  many  from  I  to  IV?  from  I 
to  V  ?   from  I  to  VI  ? 

How  many  half  steps  below  I  is  VII  ?  VI?  V?  IV? 
III? 

When  a  melody  is  written  withiii  a  tonality,  it  is 
called  Diatonic  ;  dia  means  "  through,"  diatonic  means 
"  through  the  tonality." 

A  long  time  ago  music  was  based  upon  little  four- 
letter  tonalities,  instead  of  seven-letter  ones  like  ours. 
The  four-letter  ones  were  called  TETKAcnoRDS.  Tetra 
means  "  four."     Every  letter  may  be  the  beginning  and 

step    Btep   half  step 

the  end  of  a  tetrachord.       g     a     b  C   —  consisting  of 


C     d     e  f      is  the    tetrachord 

step    step    half  step 


a  step  and  another  step  and  a  half  step  —  is  the  tetra- 

I  II  111    IV 

chord    ending  on  C 

beginning  on  C. 

If  C  d  e  f  may  be  I  II  IIMV.  the  same  letters  may 
also. be  V  VI  VII  I,  in  which  case  they  form  one  of  the 
tetrachords  of  the  tonality  of  F.  What  letters  form 
the  other  tetrachord  of  F  ? 

If  g  a  be  may  be  V  VI  VII  I,  they  may  also  be 
I  II  III  IV.  in  which  case  they  form  one  tetrachord  of 
the  tonality  of  G.  What  letters  form  the  other  tetra- 
chord belonging  to  the  tonality  of  G? 

In  the  same  manner  form  all  15  tonalities. 

Lesson  by  lesson  write  out  the  tonal  gravitations  as 
given  in  the  beginning  of  the  book,  until  all  the 
tonalities  have  been  written.  Then  write  the  follow- 
ing in  all  15  tonalities. 


Endings  upon  the  Mediant. 


1 

II 

III 

2 

IV 

III       1 

1    IV 

4 

III   ! 

1 

1     IV 

5 
III    ||              II     IV 

6 
III                          II 

7 

III    1           V     IV 

111  1 

1 

1             VII 

1   VII  ' 

VII 

r 

Si 


THE  SYNTHETIC  METHOD  FOR    THE   PIANO-FORTE. 


Endings  upon  the  Mediant  —  continued. 
8  9 


11 


II      V 


II    V 


III 


II    IV    I   III 


II    V    IV    1    III 


12 

II 


IV 


VII 


V    VII 


II    V    VII 


ll    VII 


j|    VII    VI    V 


Two-Voiced  Endings. 

13 

14                          15 

1 

VI 

V 

VI 

V 

II     VI 

IV 

III 

1 

IV 

III 

VII 

VII 

1 

16 

17 

18 

19 

VI 

II 

V 

III 

VI 

V 

1 

VI 

V    1 

1 

VI— 

II 

V 

III 

V 

1 

1 

V  VI  VII 

1 

VII 

' 

20 
\/l 

V 

III 

21 

VI 

II 

/ 

V 

III 

22 

IV 

II 

III  1 

1 

23 

IV 

III 

24 

IV 

III 

1 

25 

IV- 

II 

1 

III 

26 

IV- 

II 

III 

1 

II  III 

IV 

1 

V  VII 

1 

VII 

1 

V 

1 

1 

VII 

' 

VII 

1 

27 

28 

29 

30 

31 

32 

IV 

III 

IV 

III 

IV 

II 

/ 

III 

II — 

ill 

II 

III 

II 

III 

1 

1 

1 

I 

1 

1 

V   VI   VII 

1 

VII    VI   V 

1 

V    VII 

1 

VII 

1 

V  VI   VII 

1 

VII    VI   V 

1 

33 

II    III    IV 

III 

34 

VI    V    IV 

III 

35 

IV    V    IV 

III 

1 

36 

IV    III    II 

1 

37 

11    III    IV 

III 

1 

38 

II    V    IV 

III 

1 

\l^l  1 

1 

\/ll 

' 

\n\ 

' 

\t\  1 

1 

V 

1 

V 

1 

39 

IV  III    11^ 

1 

40 

IK 

/ 

III 

1 

41 

VI    V   iV 

III 

1 

42 

VI    V    IV 
IV    III     11^ 

III 

1 

43 

II     III     IV 

II 

1 

III 

1 

44 

II     III     IV 

II 

1 

III 

1 

V ' 

1 

/ 

/ 
VII           ^ 

V 

/' 

V 

/' 

1 

1 

1 
VII 

1 

1 
V 

1 

45 

IV    III     11 

III 

1 

46 

II 

1 

III 

1 

47 

II    V     IV 

III 

1 

48 

11 

V 

IV 

111 

1 

49 

VI    V     IV 

III 

1 

60 

VI    IV     V 
IV     II 

ill 

1 

V   VI    VII 

1 

VII 

V    VI  VII  / 

V    VI    VII 

1 

VII 

VI 

VII 

1 

V   VI    VII 

1 

VII 

1 

Three-Voiced  Endings. 

51                                                         52 

53 

54 

65 

IV 

IV- 

VI     V 

IV 

III 

IV 

111 

1 

II    11 

IV 

III 

II 

1 

III 

1 

II 

1 

/  III 

'    1 

IV    III 

II 

1 

II 

II 

1 

III  ! 

1 

II 

1 

Vli            VII 

1 

VII 

1 

VII 

1 

/ 

1 

vu 

1 

VII 

1 

VI 

VI 

/ 

VII 

V- 

V 

V 

V 

Pour-Voiced  Endings. 
56  57 


VI       V       IV 

IV      111        II 

I    ^ 


VI     V 
IV    111 

IV 

11 

111 

1 

1 

\/ 

58 

VI- 
IV- 


V 

III 


59 

VI     IV     V 
IV     II     111 


III 


60 

VI 
IV 


V 

III 


Vli  '      VII  / 
VI  ' 


VII  ^      VII 

VK 
V  ' 


VII 
V- 


V      VI     VII' 


THE  ELEMENTS   OF  MUSIC  AND  PIANO-FORTE  PLATING. 


55 


LII.    HOW  TO   FORM  THE  DIATONIC   LEANERS   AGAINST  THE  TRIADS. 


On  page  42,  we  found  that  the  tierce  of  each  triad 
has  two  leaning  tones  —  one  from  above,  and  one 
from  below.  Now  we  shall  learn  how  to  form  all  the 
primary  leaners  against  the  Major  triad.      The  triad 


members  are  I,  III,  V.  One  half  step  below  I  is  VII. 
Two  half  steps  above  V  is  VI.  In  the  following  stencil- 
table  the  leaner-figures  are  written  in  Arabic  numbers, 
while  the  triads  are  marked  in  Roman  numbers. 


5^V 

5-V 

5^V 

b-\l 

5-V 

"-v 

5^V 

«-v 

III 
2^ 
1^1 

4 
"III 

1^1 

3^111 

2 

^1 

4 
"III 

9 
"1 

4 

"III 
2 
1^1 

2'"' 

4 
"111 

1 

1' 

3-III 
1^1 

9 

5- 

~v 

3' 

~lll 

7 

,' 

10 

6 

"V 

4 

"III 

1 

-| 

13 

5' 

~v 

4 

"III 

9 

t 

7 

.' 

15 

6 

"V 

4 

"III 

7 

.' 

atSE 


lO 

-m- 


12 

-0- 


-r^- 


13 


'^- 


14 


IS 


IS 


i6 


m- 


[*  Nos.  14,  15,  and  16  may  be  postponed  where  the  pupil's  hands  are  very  small.] 


When  a  leaner  is  followed  by  triad-tones,  it  is  said  to 
"  resolve  "  into  the  triad.  A  leaner  is  a  discord  or 
dissonance,  which  must  end  in  concord  or  consonance. 
J}is  means  "  apart,"  con  means  "  together."  We  might 
call  leaners,  "  wants,"  and  triads,  "  haves,"  because,  no 
matter  how  many  leaners  there  may  be,  a  triad  gives  a 
satisfactory  ending.  We  may  wish  for  a  long  time  to 
■get  something  we  would  like  to  have,  but  just  as  soon 
as  we  get  what  we  wanted,  and  the  desire  is  satisfied, 
•the  wish  is  ended.  It  takes  no  more  time  to  satisfy 
a  wish  we  have  long  had  than  to  gratify  a   passing 


whim,  and  that  is  why  it  needs  only  one  triad  to  end 
either  a  long  passage  or  a  single  leaner. 

The  VII  degree  is  always  one  half  step  below  I 
(whether  the  triad  is  Major  or  minor). 

The  II  degree  is  always  two  half  steps  above  I  (alike 
in  Major  and  minor). 

The  IV  degree  is  always  two  half  steps  heloiv  V 
(alike  in  Major  and  minor). 

But  to  the  Major  triad  the  VI  degree  is  two  half 
steps  above  V,  while  to  the  minor  triad  the  VI  degree 
is  only  one  half  step  above  V. 


65 


THE  SYNTHETIC  METHOD  FOB   THE  PIANO-FORTE. 


Write  the  Twenty-Four  Changes  (Compare  XIV.,  p.  23). 
No.  6.     Because  d  is  a  second  above  c,  and  a  a  sixth  above  c,  this  leaner  is  called  %  (a  second-sixth  chord). 

12  3  46  678 


%$ 


1                            1 

1                            1 

1                         1 

1                         1 

L    M     U 
9  10 


11 


12 


13 


14 


15 


I 


16 


17  18  19  20  21  22 


23  24 


m 


f^^ 


No.  10.     4  (fourth-sixth)  chord  —  triad. 

1                               2                                  3 

4 

6 

6 

7 

8 

L"\'              •      1*      1 

--4-    ^    1—1- — L 

l:^=f-h3=-t 1 

- 

1 1 

L    M    U 
9                           10 

11 

12 

13 

14 

15 

16 

Rf 



y 

17 

18 

19 

20 

21 

22 

23 

24 

^- 



—^ \\ 

J 

fi>          II 

1              '• 

1 

No.  11.     %  (third -sixth)  chord — triad. 

12  3  4 


^ii^;^.4^=^;^=.:==,^^^=:===^t==^^ 


9 

10 

11 

12 

13 

14 

16 

16 

r\- 

•I. 

J 

17 

18 

19 

20 

21 

22 

23 

24 

c\* 

S           J 

*  I. 

^           1 

V 

S            J 

n        1 

No.  4.     3  (third-fourth)  chord. 

12  3 


T=f= 


-# h- 


i 


9 

10 

11 

12 

13 

14 

15 

16 

■ 

^ 











17  18 


19  20  21  22 


24 


;h 


THE  ELEMENTS   OF  MUSIC  AND   PIANO-FORTE  PLATING. 


57 


No.  7.     I  (fifth-sixth)  chord. 


1 

» 

2 

3 

4 

6 

6 

7 

8 

:^    *    - 

— 









1 1 

9 

10 

11 

12 

13 

14 

15 

16 

P' 









17 


18 


19 


20 


21 


22 


23 


24 


--0= 


11 


ILLUSTRATIONS   OF   ALL   THE   TONALITIES. 


[Note.  — As  a  clue  to  the  tonality  of  the  following  pieces,  the  first  note  of  each  is  marked  with  the  tonal  degree,  from  which  the 
pupil  can  readily  make  his  calculations.] 

Practise  the  Progressions  in  G.     Write  the  Tonal  Gravitations  in  G. 

Birds'  Notes. 


31     Predo. 


GURLITT. 


i 


■3=i + 


i- 


yl  Buds  that  you 


-^ZLZH 


:± 


on  the 

.#■     -^      .#-     i^ 


JZC 


=F= 


-s>- 


branch       in 


the 


spring 

=?i:i=tz 


%-=^^=^- 


pfi — ^^^ 

— 1 

— 1 

1            1" 

— 1 

-  ^ — 

i 

"^ 

1 

■Ar — & — J— 

— f^ 

— 1 

1 

Ti    1 

«    -         ri- 

J  :• 

7^ 

—& 

rj  ■ 

Are 

^ a — l-i 

but 

— a 1 

the 

notes 

♦      -«■ 

-1 i-l — 

that            the 

♦       H*        ♦       ^ 

birds 

learn 

— 0 1 

to 

-*• 

sing ; 

■*- 

f  r 

— 1 — 

i-^f— P— L-l 

-^ 1 

-^ i 

£-:i-h- 

-.- — '■ F — F- 

-pzuzf^ 

-H^-P- 

-^ i 

_u_lt 1 1 1 \ 

J          1 

1 

1 

' 

-1©- 


-& — 


lizzc 


-&- 


s- 


"ISl 


When         they 


have 


9^: 


learned       how 
♦     -^      ♦ 

=tz:]:[i=t: 


to 


^=F=I 


smg 


them 


with 


ease. 


:rzEE=^EEEi^Fi 


-rSi- 


JI 


X 


June         comes         and 


H»^^F--P^=-t 


-s*— 1^— g" 


i'^ 


turns  them  to 

■0-      ■*-      .0.     -^      ^      .^ 


H- 


— ^5 


::^ 


fruit 


=35::^ 


=t=- 


the 
^      .0-      ^ 


trees. 


-g= 


Frank  Dempster  Shekman. 


58 


THE  SYNTHETIC  METHOD  FOR   THE  PIANO-FORTE. 


Allegro.     Write  the  leaners  agninSt  G  Aa  and  e  aA.     Practise  the  7th,  10th,  and  11th  leaners  in  24  changes. 
Rewrite  No.  32,  beginning  upon  At?l2. 


32    Allegro. 


KUNZ. 


=li=i^-^- 


i^x: 


iprDi 


J. 


:*=!= 


J_^-^.J_>i^-.^j„eJ^J    ^   i 


r-^ 


»l   i©-T 


^«*^ 


r- 


=#F 


'       I 


I 


N.B.  —  In  connection  with  the  Major  pieces  that 
follow,  practise  the  corresponding  five-finger  progres- 
sions, and  write  the  tonal  gravitations.     In  connection 


with  the  minor  pieces,  write  the  leaning  chords  to  the 
minor  triad  and  its  relative  Major,  and  play  the  24 
changes  upon  the  7th,  10th,  and  11th  leaners. 


This  piece  is  in  two  triads.     What  are  they  ?     Are  they  relative  ? 


Shepheed's  Song. 


33 

^ 

F.  B 

SHE. 

n              ^i'           1 

-^ 

V    O 

( 

iL  ■^                        1 

i         1 

1               1        1 

1            ' 

■                   ' 

\ 

^a^sLm \^ 

_^__^__ 

-J — 1 — J — d— 

^_J_^J_J_ 

'5      1  23 

^                   1 

^- z)    - 

c^im — ^T — ^ — 

-S> ' — * — 0 — 

-75 '^ 

& 

~i 

p 

G 

1^ ^~ 

& 

-fO fs; — 

( 

^2—^ J 1 

'-^^ 

1 

b"-  F— H 

f           L 

=r— F- 

1          1- 



-^ 

^ 

-^ 

tiNE. 

i 

■4L — 1- , — 

— 1 

— 1 ~ 

1 

n     J     - 

-^      A     -^    -J 

¥-- 

— ,5i— 

__] — , 
-& 

=^    . 

^ 



— 1 

^-    m 

-*- 

— •- 

-•— 

-i~ 

o 

^ 

1 

^^ 

—)5> 

f2-       r 

^     'T 

-^ 

S- 

<^ 

— 1 — — 

-^ — 

r 

— & — 

{ 

y^ 

1  . 

—I 

1 

-\ 1 — 

^_.    __    r 

1 

r      ^- 

\ 

1              1 ' 

1 

1 

t 

m 


i^- 


-s^ 


-^ — g<- 


>^- 


-i5^ 


I^t 


"g — rs* 


=F= 


ITTil 


.^^- 


atcj-it 


d=± 


Da  Capo. 


5# 


THE  ELEMENTS   OF  MUSIC  AND  PIANO-FORTE  PLAYING.  59 

WOHLFARHT. 


^f-^^ — 

=i=d-=j- 

-j^  ij 1 

i 

„ 

=i=^-3= 

=i3-j r- 

-^— ^-1 

9i3    »-^'^T  4- 

T«-^^ 

=«^^j- 

-.-nif       ' 

^iL^ 

# — 

1 — 

— Si— 

2^-^— F^L 

1 

^=^F^=J 

-1 — 

a~. 

^^zzH-^ 

'^T   H         H- 

=J--^d— ^- 

1        ■! 

— -_ — 

=i=^^=3- 

=d-j  ^     i 

— ^ — t^ 

^ — * — 

-.-.^' 

P>^  ■ 

— \ — "  • 

zi 

5,_^H    Fh 

i       1 

r    ^-T 

f-J-F^^ 

: 

k  "  f= 

Both  hands  in  the  bass. 
5o      Lento. 


KUNZ. 


|: 


:f=F: 


I  J  J  J 


J  sj  .J  ivi^^  1 


^ 


m 


.Tt5^ 


-t5>~ 


=F= 


Ir 


:«r^=p= 


=t'^l^ 


i__JJ_J_«JE 


-S'- 


ipi  ^  J»^ 


i^^^^3^ 


i  J  i  J  i^i  J  J  J  i^it^ 


-tlF- 


mmmiiE^^^ 


Rewrite  No.  35,  beginning  upon  Cfe. 
56     Moderato. 


I^Iee 


^~-# 


91$E 


-^ — 1-*. 


1= 


^?:,:&f= 


•jzcrt 


^^- 


F-=^ 


-.•— t— *-•- 


■^?=r=i=^. 


:p= 


_^zP.f: 


4=t: 


_ffi_ 


:^ 


-^ h 


•n-h- --»- 


DIpZS 


%±±=t 


■2<2^ 


-s>- 


-^^-j-^—fiL- 


:t^=t=l= 


Eewrite  No.  36,  beginning  upon  Ajjl. 
57'     Andantino. 


BEYER. 


-©'- 


.^=,=r: 


Ei-^ 


-^^- 


-f> 


cr=L 


tz± 


^^^^=4 


:ji3t?^ 


:?>-^ 


-^H*-J-P< 


^ — 
j2. 


-i©- 


ipn^Pi^ 


60 


THE   SYNTHETIC  METHOD   FOR    THE   FIANO-FORTE. 


38        Presto. 


WOHLFAHRT. 


e 


:^=x 


-t9- 


■7S- 


-iS- 


-u- 


W^       -2S- 


^teS^ 


^^E^ 


-^ G>- 


=«^: 


-&- 


iB^E 


-&- 


-¥-- 


5:=*:^=^ 


t^-s*-- ■-!— *- 


:=d=:ii 


It-*     -*■- 


3-«-        — F 


IDt^ 


=^ 


fi^ 


x:^ 


-^y-"-<- 


X.tZ±L 


-^-zjz 


:«^-=^ 


S<>        ^%ro. 


KUNZ. 


1^^ 


i3E^i± 


:4=^-- 


^E_=a: 


msE^ 


^^^=^%f 


afei 


ae= 


!'--»« 


-*-^^aJ: 


Ii= 


^J=1=d^± 


^jj*. 


W4^ 


'4= 


iS^ 


4=1= 


S'-|^^=l:*^* 


I^Z 


a^ 


:«^ 


=iftfe= 


Rewrite  No.  39,  beginning  upon  f. 


4.0 


KUNZ. 


-^-pg-#-^- 


:^_ 


J^-&  ill  g-^*—»—^- 


d=1: 


9!# 


i: 


5EHE3: 


-s;f- 


r^ 


:=:]=i: 


1^: 


t^tf^tN 


=t=l==F^ 


?*-2^- 


.(2 , 


F=E^^= 


-&- 


:*:!?* 


■*^^ 


m—^—iS>- 


fc^E 


Rewrite  No.  40,  beginning  upon  f  =*. 


41 


KULLAK. 


l!S!=r,-=r^=:e=q?zpl!, 


PH 


r^zszrniix 


i — I- 


9!e3: 


=:ca?2- 


^?2znzz^. 


:p 


i^ 


^2« 


:-1=^ 


^SEfEF^E^EE^rE^ 


-P— F 


^:^ 


3^^t= 


:t3?2=D= 


:t:=F 


-•--i-^- 


:bp=rz]^ 


_(S_ 


x-=^ 


Rewrite  No.  41,  beginning  upon  bjf. 


THE  ELEMENTS   OF  MUSIC  AND  PIANO-FORTE  PLATING. 


61 


^2    ■'^^legro. 


Eewrite  No   42,  beginning  upon  F?. 


^^    Andantino. 


KUNZ. 


I 


EE^^^fe 


.^5p 


If^EEE.: 


-eft 


^s,^ 


?^^^ 


9!e=ElEE-: 


4^ 


-3^- 


i*  fi-    1^    - 


^F^ 


S-^ 


li=? 


F^t 


-3,«- 


=fi^= 


J=8h 


L«?^l^^ 


iSsi 


-fi^- 


L«2- 


-If- 


Rewrite  No.  43,  beginning  ui^on  Dt?. 


Da   Cajjo  al  Fine  means  that  one  is  to  return  to  the  beginning  (head)  of  the  piece,  and  play  down  to  the 
word  fine. 

Mark  the  accents  in  each  measure. 


^^     Moderato. 


WOHLFARHT. 


eezeSI 


-^^9*- 


Z^^J-p^Zfi 


-9&- 


-^^E^- 


:i7S3±=[:iJ*?^ 


2pc 


f-^-Efe 


-i2. 


xE^fe: 


t=F= 


^±±:t 


pa^^iE^ 


!?-•-•-•- 


'^kvfSfgt. 


H0-«--*- 


-FP4- 


1^ 


1=^ 


EEQLi: 


-h- r 


4=^ 


9 


FF=F4= 


Z)n;  Cff^;o  al  Fine. 


62 


TEE  SYNTHETIC  METHOD  FOR    THE  PIANO-FORTE. 


^3    Allegro. 


i^Tx: 


■^t=^- 


E&J:^=7zi 


:h?2= 


j=F- 


t=EEEEEdrt= 


i^ 


d:3^ 


Ij3i2i^_^?ia=il 


KUNZ. 


2^1 


jrji 


:i=l2*: 


SfEE± 


:>&—]: 


i^^ 


-s;- 


iprr 


-^•-i?^- 


F==t=t 


:t= 


:p=i= 


-©- 


Rewrite  No.  45,  beginning  upon  Eft- 


^Q     Andante. 


KUNZ. 


-A1-. 


:^--.-r=r=# 


J=F=F= 


S=|^ 


fi-    ^    f^i- 


;t= 


"~'^J'E#^ 


itZDI 


-•-Sp-S| 


«F= 


1==p: 


tJ^ 


Rewrite  No.  46,  beginning  upon  Etj. 


47    Moderato. 


KUNZ. 


Sf^ 


isSEl^ 


i=t 


* 


fc|. 


q=i± 


fz--xt=i?i 


=c:^t=±=^tr  i±=F — i:— Fzj 


^3=fei; 


=F=t 


it:tf' 


IfEi^^EEE 


=t:: 


1^ 


IP= 


^^^ 


Rewrite  No.  47,  beginning  upon  AJj. 


^^     Andantino. 


Fi2^=»Zki- 


KUNZ. 

I 


Rewrite  No.  48,  beginning  upon  Cj{. 
49  Lento. 


CZERNY. 


*i^  Lienio.  I  I        I  1  I 


Rewrite  No.  49,  beginning  upon  Aft. 


THE  ELEMENTS   OF  MUSIC  AND  PIANO-FORTE  PLATING. 


63 


3Q    Moderaio. 


KUNZ. 


,-^-#-y-i-i- 


"OiSjzfzitiiJ 


:^3n=; 


^F 


iE^ 


ijj^ 


li^ 


LfzMi 


~F^' 


^f=^t^m 


=3^"?: 


Rewrite  No.  50,  beginning  upon  Bt*. 
^_/     Allegro. 


KUNZ. 


I 


■^=:^^t 


-#^v 


i!^ 


=fi^=t- 


ii*=t*- 


-F= 


^p=r< 


P- 


-»^- 


-^!1 tf^ 


--??^^=l 


i± 


^=fe 


i?- 


-t?| — ft; 


ret: 


-K 


J! — fi?- 


^^^tf-- 


'^-=> 


lfE± 


Rewrite  No.  51,  beginning  upon  e  b- 
52    Lento. 


KUNZ. 


fefcta^ 


fe- 


f^*-=^: 


fe^ 


*^'^ 


Z^ZHZtlZI 


:>z:x 


;pt= 


:2#i 


ij=a^i= 


:i=l=^ 


^^fe 


t=^^ 


Rewrite  No.  52,  beginning  upon  Ftt. 
53  4 


KUNZ. 


Rewrite  No.  53,  beginning  upon  f  tt. 
jj;^     Presto. 


KUNZ. 


^t:l*:Si^Pil:4 


IJs^^i-ife^^j 


E^rEEEl^^EEzES; 


fes3^ 


l^#-i 


:j}a=^ 


Rewrite  No.  54,  beginning  upon  Dt*. 
55    Allegro. 


KUNZ. 


KS 


tEdEES: 


Z±3= 


=-I«-^        ■#• 


9^^ 


^fe5 


f* 


fcpE?: 


-s^- 


^^ 


^.a±D:3=l 


^-J-t-i — 1 — ' 


~~^ 


=i^ 


:^ 


-fi^- 


,fe- 


:«^^^Et= 


5-751- • 


EEiiE)^? 


Rewrite  No.  55,  beginning  upon  di'. 


64 


THE  SYNTHETIC  METHOD  FOR    THE  PIANO-FORTE. 


^Q    Andante. 


KTXNZ. 


I 


'^ 


1'-^  b-6- 


J7,s=i=^^ 


'-i 


h 


:b^= 


i?.^ 


:}z^=^r 


'-«^ 


-l^a- 


'?— b.i 


4=F=?r 


>-?2-    ^-«- 


-' F^ r- 


ib^ 


i3^     , 


?-«^ 


:l2f2= 


4=J^?=^-= 


F= 


4^^=^l 


i!^=^5= 


:t='=^: 


?«>- 


:>^ 


f^P-hwu^i 


EB 


ite2= 


k^ 


l^-f2.      t»-. 


97.=: 


'-^  b* 


3  ■5'- 


Eewrite  No.  56,  beginning  upon  B. 


KUNZ. 


S7_  ^ 


>    '    > 


^ 


~^^^10E^ 


Ve>-' 


t.k.>?lf_ 


F=t 


x^i--^^: 


P3^X 


¥>-^. 


:^t=E, 


fl:=F=¥ 


z^^^^pa^^: 


S^ 


:b^ 


^i»-j2^.^^_t?^ 


IP^SS 


]t-F=i=q:-^=^F=|= 


Rewrite  No.  57,  beginning  upon  g|j;. 


ALTERNATE   TRIPLE   AND   DOUBLE   RHYTHMS. 


it:^=t=|=t=E 


-^— •- 


-^— •- 


a 


etc. 


_^_.__^_ 


THE  ELEMENTS   OF  MUSIC  AND  PIANO-FORTE  PLAYING. 


6& 


ILLUSTRATIONS   OF   LEANING  CHORDS. 


59 


GTTRLITT. 


-^- 


-^- 


ZJdt 


=^ 


=?=ii 


[■^1 


nf 


-\—r 


^ 


/  di 


mtnuendo.      \ 
I 


rj=Mi 


-J.=:^. 


M 


^=6i 


ist 


=F=^=^= 


::^ 


=^^ 


:z|=^^ 


TflUZ^fl 


-a- 


-^— l—f 


?^P'= 


--# — 1— •- 


=t:z±-^: 


=^ 


i9 


^i 


15=1-:*: 


_-^ 


■^ ^- 


_c2: 


Diz^: 


=^ 


:5J: 


=f=l-^ 


1         1 

5  4 


2  15 

6 


=1=1= 


Z)aZ  Segno  means  "  from  the  sign  "  {^) ;  go  back  to  the  sign  and  play  to  the  word^^ne. 


00      Presto. 
\-^ — 


1^ 


GURLITT. 


E± 


S- 


--tZJTfl 


-S>- 


fiJ-J-* 


-^ 


=P=F 


,Si__J__, 


-iS'- 


^  J 


§^ 


2/^ 


_(2_ 


-&' 


-&- 


:g: 


-S- 


-iS>- 


n  •'^'  """^^         1          1                    ■                                          ,       =-                ,          , 

Fine. 

y      1      1 

1 

rj 

1            1 

'■ 

1           \ 

Av — ^T  J    J— 

-«-i — ^^ 

— -^ \ 

— f— Ih* m J— 

-UlJ       J 

&-. 1 

— 76 1 

J i— 

(m— &-j-» — «-- 

!— £/ — 1 

~^    r    r 

-o m « — 

1_^_ 

—tS^ '^ — 

'     1 

G 

% 

S 

G 

« 

^ 

9" — "^^ 

r^ 

& 

S) 

1^ 

& 

= 

P^-^ 

' 

1 

f\ 

-_ 

Dal  Segno. 

y        1       ^ 

1 

1            ^ 

1 

1                    — " 

,-J 

fr 

ssi    -^-r 

-^— 

=^ f— 

-^--r-^— 

n 

-  1- 

— ^— 1 

-d— 

«J        r- 

1 

in 

P 

S> 

— g- 

/ 

1 

1 

iS> 

— ^ 

— e> 

—& 

^^ 

— s 

& 

— & 

— & 

— G 

66 


Q±    Alleffro. 


THE  SYNTHETIC  METHOD  FOR    THE  PIANO-FORTE. 
Waltz. 


P.  BEHE. 


*  When  a  measure  is  marked  P]  or  Prima  volta, 
that  is,  "  first  time,"  it  means  that  the  first  time  the  piece 
is  played  the  next  measure,  marked  |II°  | ,  is  to  be  skipped 


in  passing  on  to  the  rest  of  the  piece  ;  but  when  the  first 
part  is  repeated,  the  measure  marked  1°  |  is  left  out, 
and  the  one  marked  1 11°  |  is  played  as  the  final  measure. 


Frekch  Child's  Song. 


P.  BEER. 


02   Allegretto. 


MeEgEES 


w 


fe-3-^^ 


p 


egEL^fa 


l==t 


-.^r: 


q=^: 


^ibiiri-jj 


:t=F=t= 


%-=¥^- 


>. 


5Frf=t 


d-dd: 


-i?^ — F 


M=#= 


?i©-n-#- 


^liEt^ 


-£J^*^»-V 


II. 


^ 


m, — ^- 


tp:t: 


■9s>- 


>. 


Fine. 


~^t'-^Ft 


Da  Capo  al  Fine. 


J^SeeeS 


5S 


> .- 


BE 


—-I — I — i-t- 


-^P.—^- 


f'^«=P=?= 


«=^± 


-V 


=f= 


:fe^ 


:d=1= 


.]?^— ^- 


l2^t=ir 


:^=)=it>: 


-^» ^- 


-F= 


13 — '—a—m- 


S^-- '— •-* 


itnViiTta: 


-t?^ — •- 


b^=t=*zt:: 


:f= 


:tp= 


-]2«--^-«- 


The  following  verses  were  written  for  this  piece  by  a  little  New  York  girl,  Amie  Burr,  aged  eleven  years :  -^ 


Softly  and  sweetly  the  little  brook  is  singing, 
Sparkling  and  ripjjling,  as  bright  it  flows  along ; 

Swift  through  the  air  shining  butterflies  are  winging ; 
All  the  glad  earth  seems  to  raise  its  voice  in  song. 

See  how  the  bees  in  the  roses'  cups  are  swinging, 
Sucking  the  honey  with  glad  and  grateful  song. 


Brightly  and  gladly  doth  play  the  merry  sunshine, 
Gilding  the  leaves  on  each  bush  and  flow'r  and  tree ; 

Nothing  seems  dark  save  the  gloomy  pinewood's  shadows : 
All  things  are  bright  to  the  sunshine  and  to  me. 

As  gladly  we  play  on  the  daisy-spangled  hillside, 
On  earth's  green  mantle,  spread  out  so  fair  to  see. 


THE  ELEMENTS   OF  MUSIC  AND   PIANO-FORTE  PLAYING. 


t)7 


APPENDIX. 


EXERCISES  FOR  FINGER  CONTROL. 


No.   1. 


Ei^e: 


-jLif^st 


^=J= 


d—»—Tdr 


:j=^=i 


• — ^ — •- 


T^ *— g- 


Fi=P=-^ 


-• — ^ — (&- 


-^— • — p-X--i=or~^- 


:ai^'^ 


:^ 


:^=P=?2= 


■p-rm »- 


:pLZ=-zzp=P=r*=^zrf? 


IN: 


-» — ^ — ^- 


-• ^ — « P-\-» P — Gi- 


^ 


r«__,_^ 


±=:^=t= 


i»_j,_(2^C^_, — ^_,_ 


:^»— # — (2- 


-• — a — «<- 


=F==t=1=^P=P 


-#— i— &- 


:?— ^-i=fzi^=pfz=«: 


f©!- 


=F=r=^p==t= 


^i_^^^T^ —  -^—#—(2=^  i^'^^iz^— ^l-'^'^^- 


t=F=t=F=^-f:: 


•—S—s' 


-» — ^ — <g- 


^ — * — ^- 


]=— =^ 


:#=PE 


No.  2. 


^^ 


^=r=f2- 


-r-H 


?c=* 


-d — * — f—^' 


-m — P~ 


?^ 


fS 


0—^- 


■0 — Pt 


-r- w-i-n & 


?*=r=^ 


^=E^ 


-0—(2Z 


=F=P 


;pi=f2= 


F=f=='r=p=t'=3.p= 


±=zi=iiitt 


-(2- 


-^»— «^ 


-~0 — ^ — s*- 


'.0 ^ — « ^      0 — p — fsi- 


=F=PT^=t 


t^f-^ 


e9 


=^ 


'-^—0  t,    ^- 


»—m f=^- 


-P—S>- 


-^~s>- 


-fi—0- 


=tp= 


-&' 


E§!3^S 


t=z^=f±=t^t 


^— #- 


■^e^Lzt 


:t=i::^^ 


:t=q: 


-*=i-F 


:^=i 


-# — ^—iS>- 


-0 ^ — iS>- 


:j=:i=± 


-*      W      * — 14- 


;?=?^£ 


No.   3.    Count  six. 


•-lt 


-#T- 


•-^ 


=i:t^- 


f=^^=r^^=F^-F=  -^- 


Zil^ 


0-p- 


~0  0-n 


-0—P- B-i-*-^- 


iqE:f=pz.T:pin^ip:7^- 


:^g^=S3 


#-^#- 


:t=t: 


->— ^->-a— »— f*— |-*— ^— *~^~ 


r — »— ^ — V — I v^m      0 


68 


THE  SYNTHETIC  METHOD   FOR    THE   PIANO-FORTE. 


9i=r^^=^ 


^=t=. 


:r=f^-^-tf=:»=^ 


-•-H*-  m- 


z\ — h-!- 


i^ 


0i^^\-r^s=r^ 


-i — ■— ' 


-fi—»- 


^=^3= 


^Sig^^il 


^9!^fe:P^ 


-t— h-^h-h-T-+r^h-r-i — l-i-H*-h-r- 


^£^=l=tt^^ttj=±^£^^ 


^V=i=i*^ 


No.  4. 


;^e^^fZ^ 


=ir"-^ 


:s: 


_i — #_  _F — I 

-J — « — ^ — I — I — w — * — ^■ 


:i=p: 


qi=t=?: 


-# — ^ 


^i=F=? 


f3=t 


-(9— 


-m — ^ 


-s*- 


-• — ^ 


=i=HC 


=i=P=r: 


|c=^ 


• — ^ 


• — ■ — &- 


±^: 


-•— )•— #— ^ 


^i3= 


-» 1 —w f— J-; ^  ■-- — W 


• ^— #- 


• ^L-#- 


-^— <»- 


=f=F^ 


-# — (>- 


=E=t=E=^rEEE 


±t=^ 


=9^ 


-i==*^m- 


lf=X-&- 


•=?«=#- 


=?»=F#- 


• ft—»- 


-P- # 


-^~H#- 


=t=± 


^ •- 


P ft ,- 


zr 


11—0- 


q^=f»- 


-I L 


-Jtzt^ 


=F=i= 


=?Ef=ii 


•— F-^# 


-^ — f- 


-# F — 15>- 


f=t=t= 


rrf^ — ^ — ^ ^— 

■^ 

r^^i — 1 — h 

^ 

r^^i — i — ]— 

1     1      1 

r \ — \ — ^" 

^— 1 

-9--^-j=J- 

f7 

-li-J— J— J= 

-^ — 

^—•—i — •- 

f-s=i-'- 

--f—i-=^=i- 

r— r^j— 

1 L_ i 

L^ 1 1 

\- 

L| 

L| — : 

L| ^ 1 

-^1  d m—V^ — F"  I w- 


s 


>— J — p — r 


-• — ^ — •— F'^       -'g- 


:22i 


IB 


THE  ELEMENTS   OF  MUSIC  AND  PIANO-FORTE  PLATING. 


69 


FIVE-FINGER   PROGRESSIONS   THROUGH   SCALE   TONES  —  FOURTEEN   TONALITIES. 

In  these  exei'cises,  each  finger  in  turn  must  press  its  own  digital  as  firmly  and  smoothly  as  it  would  press 
the  push-button  of  an  electric  bell  in  order  to  make  sure  of  ringing  the  bell.  "  You  press  the  digital ;  the 
piano-forte  does  the  rest."  When  these  progressions  are  familiar,  begin  Preparatory  Studies  for  Parallel  Scale 
Fingering  (see  Catalogue).     N.B.  —  Always  be  careful  of  the  mediant  and  sub-tonic  groups. 


-»-^      ^  ^ 


Ep^^E^gq|g^f=^^|ggJS^|:-^^_^^F5^g"i'^^^ 


^r=g=rzg:tt^=^zrgjr|,_^,^,,^_^-. 


W-^ 


ifiMzJz^^^ifrti^J^j 


< — 


lb 


^i 


^S^ 


^^r^-^^^rrr^^-jj,^^^. 


^^^^^^^^^m 


#-i?^^r 


^^^^=^^-t^^^=^=^ 


ifz_^^J-,"gr_*zg= 


=^z«=ii#^ 


^*   »^ — ^ 


^— ?- 


2» 


.5:^^ 


^fiftriiz*^ 


•  •>= 


■^^'.^     f-rf 


=^#-. 


^i3:fi 


^^^^ 


2b 


n_-^^#— «-*-,^— '-j_-,-^#-« — «-i#-^^^,-^ 


+>*——• 


=^i^ 


?#-C=^«- 


=r:bi 


"is^*:^^; 


bw^- 


^b*—^*^ 


--^i_,_^. 


70 


THE  SYNTHETIC  METHOD  FOR    THE   PIANO-FOBTE. 


3# 


ii^ls^E^i5:^.^Jif^5^r 


■#^ 


■a-^-m- 


^ 


3b 


r^iElggg^>iE^Eig^^^^^=^jg|g,t^^^^^ 


li-Jjsr* 


.g,__^_ 


:C=tbp=i^ 


4g 


-feipifi^^^feit^^S 


2t^4 


4b 


^^i'' 


?•  i'*  0 


•-*  ^ 


#^ 


-b. 


i^ 


^=JEi^E?^^^E^ 


-J»— "Th — -■-f>#--j— ^*i 


^^f^i^i^^l 


^ 


^^c^-T^: 


THE  ELEMENTS   OF  MUSIC  AND  PIANO-FORTE  PLATING. 


n 


Bfl  =  7> 


^Scg-Lit: 


^^S^^l^^r^ 


tt — rk*- 


-W—1- 


l»- 


•5#>i 


>-i+, 


i^g*:^^l^lp^ 


„jj5S^ 


1'^ 


^'«^e^^^^&^' 


8t?=7|f 


^i;i=^*= 


;^^^*^-*^^f:'^^'^-g^^''^^gP^^fe^'^^^-^-^^ 


^^_^^^^==g=g^^;^^r=^^g'rJ^g^-pgg 


,J.ifl. 


^fLi..._._ 


^^^-^^S':j:^g3^^psglS^f^^gag^g^ 


'^^^^:g=^[j:^^S^=:J^^^^^ife^=^j^^^^^S^=^ 


6g  =  6b 


=^^^tfg^3^|^gg^i^^:^^_:^^g^=tf'^*^=|:g^^ 


^N'E^^E^^^^^g^gl^^EpgS^^ 


;fi*=^ 


:fi*=g 


*.fit 


72 


THE  STNTHETia  METHOD  FOB  THE  PIANO-FORTE. 


Right  hand  an  octave  higher. 


Ode  to  Jot.     (Page  18.) 


:*_^_ 


m—»-r*—» 


^-« 


t=t: 


^—m—&- 


^F=F- 


m^M- 


#— ^-,^— •- 


:t==t:: 


=t=!= 


-i«— • 


-^ — ft- 


isi 


Encouragement.     (Page  18.) 


■&. 


-m    »—p. 


-F=^ 


-Q>- 


-« 0 ^ 


-•-   • 


i 1 u 


Kind  Words.     (Page  18.) 


2        4 


^BE^EtE^Etfe 


=t=±P=t 


-;2 0—ft. 


=F=P 


-iSi- 


-• — ^ — I i—l-t- 


4=t 


-(2_ 


LSI 


4       3 


An  Old-Fashioned  Dance.     (Page  19.) 


-3-i^ 


lip: 


-& r-#- 


-©I — •- 


-•-'•-rz-EE=^ 


■^-•-r-^ 


I 


^ #-     *— # #-p(^- 


-• — •- 


f=P=^H 


f~F- 


I© — #- 


qr=i:L-EF^_:iirE^*=gjr^F=i-F=^£^^^iJ^^^^^g^ 


Ehtthmical  Variations  of  No.  24,  Page  46. 


SECOND. 


etc. 


A^ij — ["^i— H 1 1 1 i 1 — ^-•— I 1 — 


-p^p 


t^=^: 


#  • 


etc. 


\ 1 F — #- 


•-^ 


-»— 


-^-^-t-^ 


IS- 


-•-a--! ^- 


•-*-^-i-— i- 


THIRD.  etc.  etc. 


fourth. 


etc. 


FIFTH. 


etc. 

r" 


i^^^JEg^g^zyjE^g-^^^JagE^^ 


■082 


SYNTHETIC     METHOD 


o-^r Clavier    Chart-j®- 


SILVER  ,BURDETT      S    CO.     Publishers 

VI         vn  I  I  m  IV 


£F" 

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COPYRIGHT     1891    BY     S 

ILVER  .BUHDETT  h  CO 

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